Kodwo Eshun - More Brilliant Than the Sun

-01[-016]

-01[-015] More Brilliant Than The Sun: Adventures In Sonic Fiction: Concept Engineered By Kodwo Eshun More Brillian t Than The Sun i s a m�E�J!:I �)o r t r a ve l l i n g a t t h e s p e e d o f . _ t h o u g h t , a p r o b e f o r d r i l l i n g i n t o n e w l e v e l s o f p o s s i b i l i ty s p a c e . ' I ts mission is to underm ine the concepts this present has of "Hea l th" and "Cul ture" and to excite mockery and ha tred against these hybrid monsters of concepts . ' Q Quartet Books

- 0 1 [-0 1 4] First published in Great Britain by Quartet Books Limited in 1 9 9 8 tf-,_, 1-·'. '- A member of the Namara Group .( 2 7 Goodge Street London W 1 P 2 LD Reprinted 1 9 9 9 Copyright© by Kodwo Eshun 19 9 8 All rights reserved. No part of this book may be reproduced in any form or by any means without the prior written of the publisher. The moral right of the author has been asserted. Every effort has been mode by the publishers to clear permission for the use of the photograph on the front cover of this book. The owner is invited to submit a claim for reproduction fees. A catalogue record for this book is available from the British Library ISBN 0 7 0 4 3 8 0 2 5 0 Printed and bound in Great Britain by Creative Print and Design Wales, Ebbw Vale

-01 [ - 0 1 3] DISCONTENTS oo [ -0 0 7 ] Operating System for the Redesign of Sonic Reality 0 1 [ 0 0 1 ] World 4: Mutantextures of Jazz Anachronic Cybernetics of the World: George Russell Electronic Swarm Program: Teo Macero & Miles Davis, Herbie Hancock 02 [ 0 1 3] Transmaterializing the Breakbeat The Metamorphonic Machine is Motion-Capturing Your Nervous System: Grandmaster Flash, Knights of the Turntable Kidnapped by the Kinaesthetics of the Break: Mantronix and Chep Nunez 03 [ 0 2 5 ] Sampladelia of the Breakbeat Intensify the Phonotron: Ultramagnetic MCs Assemble the Cryptogrammatron: Rammellzee Escape into Psychopathogenetics: Dr Octagon BoddhiSativa Explosion in Slow Motion: Cypress Hill, The RZA, Gravediggaz, Sunz of Man Boll Weevil Computer Brain: Funkadelic Chase Through the Headphones: Tricky 04 [ 0 6 2 ] Inner Spatializing the Song [ Towards a] MythScience of the Mixing Desk: The Upsetter

- 0 1 [ -0 1 2 ] 05 [ 0 6 7 ] Virtualizing the Breakbeat Wildstyle Adventures in the Hyperdimensions of the Breakbeot: 4 Hero, Rob Playford and Goldie, R Guy Coiled Gerold 06 [ 0 7 8 ] Programming Rhythmatic Frequencies Migration Paths Across the Vocoder Spectrum: Cybotron, Zopp, Drexciyo Rhythmotic Bachelor Machines: Kroftwerk Machine Tones for Psychic Therapy: The Jungle Brothers 0 7 [ 0 9 3 ] Synthetic Fiction/Electronic Thought Abduction by Reid [ Curfew ]: Phuture, Born Born, Sleezy D ... And Come Down in Techno City: cybotron, Model 5 0 0 , Electrifying Mojo Inside the Sanctuary of Shockwave: The Bomb Squad The Final Transmission from the Forever War: Underground Resistance Unknownforce:Offworld Moss: Oncoming Motion: Scientist Materializing Offworld Revolutions: X- 1 0 2 Discovers 'The Rings of Saturn' 0 8 [ 1 3 8 ] Mixadelic Universe We Are in Your System: Parliament 09 [ 1 5 4 ] Synthesizing the Omniverse [ Dialogues Concerning] New World System Builders: Sun Ro 1 0 [ 1 6 4 ] Cosmology of Volume The Cosmic Communications Medium is on Evolution Engine: Alice Coltrane Coltrane liquid Computer: John Coltrane Shooting the Sun with o Miniature Sextant: Phorooh sanders A ( 1 7 5 ] Motion Capture (Interview) B [ l 9 5 ] Assembling the Connection Machine C [ 2 1 5 ] Datamining the Infoverse

-01 [ - 0 1 1 ) For the Newest Mutants

-01 [ -010] THE CO- OF THE FUTURHYTH

-01[ -009] EVOLUTION MA CHINE

- 0 1 [ -0 0 8 ]

0 0 [ -0 0 7 ) OP E RATI N G SYST E M FOR THE R E D E SIG N O F SON IC R E A LITY R e s p e c t d u e . G o o d m u s i c s p e a k s for i t s e l f. N o S l e e v e n o t e s requ i r e d . j u s t e n j o y i t . C u t t h e c r a p . B a c k t o b a s i c s . W h a t e l s e i s t h e r e to a d d ? A l l these trogl odytic ho m i l i es a r e G r e a t B r i t i s h cret i n i s m m a s q u e ra d i n g a s v e c t o r s i n t o t h e T r a d S u b l i m e . S i n ce t h e 8 o s, t h e mai nstream British m u s i c press has turned t o B l a c k M u s i c o n l y as a rest a n d a r e f u g e from t h e r i go r o u s c o m p l e x i t i e s o f w h i t e gu i t a r r o c k . S i n c e i n t h i s l a u g h a b l e r e v e rs a l a l y r i c a l wa y s m e a n s m o r e t h a n a s o u n d , w h i l e o n l y gui tars can e m b o d y t h e zeitgeist, the Rhythmachine is locked i n a r e t a r d e d i n n o c e n c e . You c a n t h e o r i z e w o r d s o r s t y l e , b u t a n a l yz i n g t h e groove i s b e l i ev e d t o k i l l i t s b o d i l y p l ea s u r e , to d ra i n i t s e s s e n c e . A l l e ge d l y a t o d d s w i t h t h e r o c k p r e s s , d a n c e - p r e s s w r i t i n g a l s o t u r n s i t s t o t a l i n a b i l i t y t o d e s c r i b e a n y k i n d o f r h y t h m i n to a v i r t u e , i n vo k i n g a w h i t e B r i t r o u t i n e of p u b s a n d c l u b s , of b u s i n e s s as u s u a l , t h e b o v i n e s e n s e o f g o o d b l o k e s t o g e t h e r. You c a n s e e t h a t t h e e n t i re B r i t i s h d a n c e p r e s s - w i t h i t s h a g i o g ra p h i e s a n d i ts geogr a p h i e s , i t s dj re c i p e s , i t s b o o s te r i s m , i t s p e r s o n a l i t y p r o fi l e s - c o n s t i t u tes a c o l o s s a l m a c h i n e for m a i n t a i n i n g r h y t h m as an u n w r i t a b l e , i n e ffa b l e m y s t e ry . And t h i s i s w h y Trad dance- m u s i c journa l i s m i s noth i n g more t h a n l i sts a n d menus, b i ts a n d b y t e s: m e a g r e , m i s e r l y , m e d i o c r e .

0 0 [ -0 0 6 ] All today's j o u r n ali s m i s n o t h i n g m o r e than a g i a n t i n e r t i a e n g i n e to put t h e b rakes o n breaks. a m o r o n i z e r p l a c i n g a l l t h o u g h t o n p e r m an e n t pause. a futureshock absorber. fo r e v e r s h i e l d i n g i t s read e r s from t h e f u t ure ' s c u t s , trac k s . s c ratc h e s . B e h i n d t h e as s u m e d v i r t u e o f kee p i n g rh y t h m m u t e , t h ere i s a n o n e - to o - v e i l e d h o s t i l i t y towards anal y z i n g r h y thm at all . To o m a n y i d eas s p o i l t h e party. Too m u c h s p e c ulat i o n k i lls 'dan c e m u s i c ' , b y ' i n t e l l e c t u a l i z i n g ' it t o d e a t h . T h e fu e l t h i s i n e r t ia e n g i n e r u n s o n i s foss i l f u e l : t h e l i ve s h ow. t h e p r o p e r a l b u m . t h e R e a l S o n g . t h e R e a l V o i c e . t h e mat u r e . t h e m u s i ca l . t h e p u r e . t h e t r u e , t h e p r o p e r. t h e i n te l l i g e n t , break i n g A m e r i ca: al l n o t i o n s t h a t s t i n k o f t h e past. t h a t mai n ta i n a h i e rarc h y o f t h e s e n s e s , that p e t r i fy m u s i c i nto a s o l i d s tate i n w h i c h e v e r y o n e knows where t h e y s tan d . and what r e a l m u s i c rea l l y i s . And t h i s i s w h y n o t h i n g i s m o r e f u n t han s p o i l i n g t h i s t erm i n al l y stu p i d s u b l i m e . t h i s i n s i s te n c e t h a t G reat M u s i c speaks f o r i t self. A t t h e C e n tury ' s E n d , t h e F u t u r h y t h m ac h i n e has 2 o p p o s i n g t e n d e n c i e s . 2 s y n t h e t i c d r i v e s: t h e S o u l fu l a n d t h e P o s ts o u l . B u t t h e n a l l m u s i c is mad e o f b o t h t e n d e n c i e s r u n n i n g s i m u l ta n eo u s l y at al l l e v e l s , so y o u can ' t m e r e l y oppose a h u man i s t rob w i t h a p o s t h u man Tec h n o . D i sco remai n s t h e m o m e n t w h e n B l ack M u s i c fa l l s from t h e grace o f gos p e l trad i t i o n i n t o t h e m e t r o n o m i c ass e m b l y l i ne . I g n o r i n g t h a t d i s c o i s t h e r e fore audibly where t h e 2 1 s t C begi n s , 9 o u t o f 1 0 c u l tu ral c r i t s p r e fe r t h e i r black popc ulture h u man i s t . and e m p hati cally 1 9 t h C . L i k e Bru s s e l s s p r o u t s, h u man i s m i s g o o d fo r y o u , n o u r i s h i n g , n u r t u r i n g , s o u l warm i n g ­ and from Ph y l l i s Wheat l ey to R . Ke l l y, p r e s e n t-day ROB i s a p e r p e tual f i g h t fo r h u man s tat u s , a ye a r n i n g fo r h u man r i g h t s , a s t r u g g l e fo r i n c l u s i o n with i n t h e h u man s p e c i e s . A l l e r g i c to cyberso n i c i f n o t to s o n i c tech n o l ogy, mai n s t ream A m e ri can m e d ia - i n i t s d r i ve to ban i s h al i e nat i o n , and to recover a s e n s e o f t h e w h o l e h u man b e i n g t h r o u g h b e l i e f s y s t e m s that tal k to t h e ' real y o u ' - co m p u l s i v e l y d e l e t e s a n y i n t i m a t i o n o f an A fro D i as p o r i c fu t u r i s m , o f a ' w e b b e d n e tw o r k ' o f c o m p u t e r h y t h m s , mach i n e m y t h o l ogy an d c o n c e p t e c h n i c s w h i c h r o u t e s , rero u t e s a n d c r i s s - c r o s s e s t h e B l ack A t l an t i c . T h i s d i g i tal d iaspora c o n n e c t i n g t h e U K to t h e U S , t h e C a r i b bean to E u r o p e to A f r i ca. is i n Pau l G ilroy's d e fi n i t i o n a ' r h i z o m o r p h i c, frac tal s t r u c t u re ' , a ' t ran s c u l t u ral , i n t e rnatio nal fo rmat i o n . · The m u s i c o f A l i c e C o l t rane and S u n Ra, o f U n d ergro u n d R e s i s tance and G e o rge R u s s e l l , o f T r i c k y and Marti na, c o m e s from t h e Outer S i d e. I t

00[ -005) a l i e n a t e s i t s e l f from t h e h u m a n; i t arr i v e s from t h e future. A l i e n M u s i c i s a s y n t h e t i c reco m b i n ator, an a p p l i e d a r t t e c h n o l ogy fo r a m p l i fy i n g t h e r a t e s o f b e c o m i n g a l i e n . O p t i m i ze t h e ra t i o s o f e x c e n t r i c i ty. S y n t h e s i z e yours e l f. From the o u t s e t , t h i s Po s t s o u l Era has been c h a ra c t e r i z e d by a n e x t r e m e i n d i ffe r e n c e to ward s t h e h u m a n. T h e h u m a n i s a p o i n t l e s s a n d t r e a c h e r o u s ca tegory. And i n synch w ith this p o s t h u m a n p e r s p e c t i v e comes B l a c k A t l a n t i c F u t ur i s m . W h e t h er i t ' s t h e A f r o F u t ur i s t con crete o f G e o rge R u s s e l l a n d R o l a n d K i r k , t h e J a zz F i s s i o n o f Teo M a c e r o a n d M i l e s D a v i s , t h e Wo r l d 4 E l ec t r o n i c s o f S u n Ra a n d H e r b i e H a n c o c k , t h e A s t ro J a z z o f A l i c e C o l t r a n e a n d P h a r o a h S a n d e r s . t h e c o s m o p h o nic H i p H o p o f D r O c t a g o n a n d U l t r a m a g n e t i c M C s , t h e p o s t - H i p H o p o f The J u n g l e B r o t hers a n d Tri cky, t h e S p e c t r a l D u b o f S cie n t i s t a n d Lee Pe rry, t h e o ffw o r l d E l ec tro o f H a a s h i m a n d R y u i c h i S a k a m o t o , t h e d e s p o t i c Acid o f Bam B a m a n d P h u t u re , t h e s i n i s te r p h o n o se d u c t i o n o f Pa r l i a m e n t ' s S t a r C h i l d. t h e h y p errh y t h m i c p s y c h e d e l i a o f R o b P l a y fo r d a n d G o l d i e , 4 H e ro a n d A G u y C a l l e d G e ra l d , S o n i c F u t u r i s m a l w a y s a d o p t s a cru e l , d e s p o t i c , amoral a t t itude towards the human species. I n fa ct t h e era w h e n t h e H i s tory o f H i p H o p cou l d e x h a u s t M a c h i n e M u s i c i s l o n g over. A l l t h o s e p e t i t i o n s f o r H i p H o p to be taken s eri o u s l y, for t h e B B C to give Te c h n o a c h a n c e , fo r H o u s e to rece i v e a fa ir h e a r i n g: t h i s m i s e ra b l e s u p p l i c a t i o n s h o u l d h a v e e n d e d years ago. F o r t h e re ' s n o t h i n g to p rove a n y m o re: all t h e s e R h y t h m a c h i n e s are globally p o p u l a r now. S o n o m o r e forc e fee d i n g y o u Bro n x fa b l e s and n o m ore o r t h o d o x H i p H o p l i t u r g i e s . T h e r e a r e m o r e t h a n e n o u g h o f t h e s e alre a d y . I n s te a d More Brillian t than th e S u n w i l l fo c u s o n t h e F uturh y t h m a c h i n e s w i t h i n e a c h fi e l d , o f fe r i n g a c l o s e h e ari n g o f m u s i c ' s i n tern a l e m i gra nts o n l y. T h e O u ter T h o u g h t o f Tri cky, t h e J u n g l e B r o t h e r s w i t h t h e i r re m e d y fo r H i p H o p g o n e i l l m a t i c , Aero s o u l a r t t h eori s t R a m m e l l z ee a n d h i s m y t h i l l o g i c a l s y s t e m s o f G o t h i c F u t u r i s m a n d lkon oklast Panzerism. No h i s to r y of Te ch n o , h o w e v e r c o m p e l l i n g , b u t i n s t e a d a z o o m in o n t h e U n d e r g r o u n d R e s i s t a n c e WarM a c h i n e , o n t h e U n i d e n t i fi a b l e A u d i o O bject o f X-102 Disco vers 'Th e Rings of Sa turn'. No p l e a s fo r J u n g l e t o be a c c o r d e d pro per r e s p e c t , b u t r a t h e r a m a gn i fi c a t i o n of c e r t a i n very p a r t i c u l a r a s p e c t s o f its h y p e r d i m e n s i o n a l i ty , i n 4 Hero, A Guy Ca l l e d G e ra l d , R o b P l a y fo r d a n d G o l d i e . T h e h i s to r y b o o k t h a t c r a m s i n e v e ry t h i n g o n l y s u c c e e d s i n s c r e e n i n g o u t t h e s tra n g e n e s s o f t h e R h y t h m a c h i n e . I n i t s b i d for u n i v ersal i t y , s u c h a b o o k d i s p e l s t h e a r t i fi cia l i ty t h a t a l l h u m a n s cra v e .

0 0 [ -0 0 4 ] B y c o n t r a s t , More Brilliant g o e s fa r t h e r i n . I t l i n ge r s l o v i n g l y i n s i d e a s i n g l e r e m i x , e x p l o r e s t h e p s y c h o a co u s t i c fi c t i o n a l s p a c e s o f i n t e r l u d e s a n d i n t r o s , g o e s to e x t r e m e s to e x t r u d e t h e i l l og i c o t h e r s t u d i e s f l e e . I t h a p p i l y d e l e te s fa m i l i a r n a m e s [ s o n o T u p a c , n o N WA ) a n d h i s to r i c a l precedence [no l y i n g griots, not much K i n g Tubby, j u s t a s ma l l side bet on t h e S to c k h a u s e n s w ee p s t a ke s ] . I t a v o i d s t h e n a u s e a t i n g A m e r i c a n h u n g e r fo r c o n fe s s i o n a l b i o g r a p h y , f o r ' te l l i n g y o u r o w n s t o r i e s i n y o u r own w o rd s ' . I t r e f u s e s e n t r y t o c o m fo rt i n g o r i g i n s a n d s o c i a l c o n t e x t . E v e r y w h e r e , t h e ' s t r e e t ' i s c o n s i d e red t h e g r o u n d a n d g u a r a n t e e o f a l l rea l i ty, a c o m p u l s o r y l o g i c e x p l a i n i n g a l l B l a c k M u s i c , c o n ve n i e n t l y m i s h e a r i n g a n t i s o c i a l s u r r e a l i s m a s s o c i a l rea l i s m . H er e s o u n d i s u n g l u e d from s u c h o b l i ga t i o n s , u n t i l i t e l u d e s a l l s o c i a l r e s p o n s i b i l i ty , t h e r e b y a c c e n t u a t i n g i t s u n re a l i t y p r i n c i p l e . I n C u l t S t u d , Tec h n oT h e o r y a n d C y b e r C u l t u r e , t h o s e p a i n fu l l y a r c h a i c reg i m e s , t h e o r y a l wa y s c o m e s t o M u s i c ' s rescue. T h e o r ga n i z a t i o n o f s o u n d i s i n t e r p re t e d h i s t o r i c a l l y , p o l i t i ca l l y, s o c i a l l y . L i k e a h e a d m a s te r . t h e o r y t e a c h e s to d a y ' s m u s i c a t h i n g o r 2 a b o u t l i fe . I t s u bd u e s m u s i c ' s a mbi t i o n , r e ins i t i n , r e s t o r e s i t to i t s p r o p e r p l a c e , r e co n c i l es i t to i t s n a t u ra l l y b e l a t ed fa t e . I n More Brilliant than t h e S u n t h e o p p o s i te h a p p e n s , for o n c e : m u s i c i s e n c o u raged i n i t s d e s p o t i c d r i v e t o c r u m p l e c h r o n o l o g y l i ke a n e m p t y b a g o f c r i s p s , to e c l i p s e rea l i t y i n i ts w i l fu l e x o r b i t a n c e , t o p u t o u t t h e s u n . H e r e m u s i c ' s my s t i fy i n g i l l o g i c a l i ty i s n o t c h a s t i s e d b u t s y s te m a t i z e d a n d i n te n s i fi e d - i n to M y t h S c i e n ce s t h a t b u r s t t h e e d ge o f i m p r o ba b i l i ty , i n c i t e s a p ro l i fe r a t i n g s e r i e s o f m i x i l l o g i c a l m a t h e m a g i c s a t o n c e maddening and perplexi ng, a l a r m i ng, a l l u r i ng. M y t h S c i e n c e i s t h e f i e l d o f k n o w l e d g e i n v e n t e d by S u n R a , a n d a t e r m t h a t t h i s b o o k u s e s a s o f t e n a s i t c a n . A s a m p l e f r o m V i r i l i o d e fi n e s i t very s i m p l y: ' S c i e n c e a n d t e c h n o l o g y d e ve l o p t h e u n k n o w n , n o t k n o w l e d g e . S c i e n c e d e v e l o p s w h a t i s n o t ra t i o n a l . ' I n s te a d o f t h e o r y s a vi n g m u s i c from i t s e l f, from i t s w o r s t , w h i c h i s to s a y i t s b e s t e x c e s s e s . m u s i c i s h e a rd a s t h e p o p a n a l y s i s i t a l r e a d y i s . P r o d u c e r s a re a l re a d y p o p t h e o r i s ts: B r e a k b e a t p r o d u c e r S o n z o f a L o o p d a L o o p E r a ' s t e r m skr a t c h a d e l i a . i n s t r u m e n t a l H i p H o p p r o d u c e r DJ K r u s h ' s i d e a o f t u r n t a b i l i z a t i o n , v i r t u a l i ze r G e o rge C l i n t o n ' s s t u d i o s c i e n c e o f m i x a d e l i c s . a l l t h e s e c o n c e p t e c h n i c s a re u s e d t o e x c i t e t h e o r y t o t r a v e l a t t h e s p e e d o f t h o u g h t, a s s o n i c t h e o r i s t K o o l K e i t h s u gg e s t e d i n 1 9 8 7 . Te c h n oT h e o r y , C u l t S t u d s e t a l l o s e t h e i r f l a b b y b u l k , t h e i r l a zy, p o m p o u s , l a rd - a rs e d , t o p - d o w n d o m i n a n c e , b e c o m i n g b u t a s i n g l e c o m p o n e n t i n a

00[ -003] t h o u g h t s y n t h esi zer w h i c h m o v e s alo n g s e veral pla n e s a t o n c e , wh i c h tra c k s M a c h i n e M u s i c ' s l i n e s o f forc e . F a r fro m n e e d i ng t h e ory ' s h e l p , m u s i c t o d a y i s alre a d y more c o n c e p tual t h a n at any p o i n t t h i s c e n t ury, pre gn a n t w i t h t h o u g h tpro b e s wa i t i n g to be ac t i v a t e d , s w i t c h e d o n , m i s u s ed. So More Brilliant than the Sun draws m ore o f its purpose fro m tra c k s u b t i tles t h a n fro m Tec h n oThe ory, or e v e n s c i e n c e fi c t i o n . T h e s e conceptechnics a r e t h e n re l e a s e d fro m t h e h old i n g p e n s o f t h e i r bra c k e ts, to m i gra te a n d m u t a t e acro s s t h e e n t ire co m m u n i c a t i o n la n d scap e . S tole n fro m Slee v e n o t e M a n i fe s t o s , a da p t e d fro m la b el f i c t i o n s , d r i v e n a s far a n d as fa s t as p o s s i ble, t h e y m i s s h a p e u n t il t h e y b e c o m e d e v i c e s to drill i n t o t h e n e w s e n s ory e x p er i e n c e s , end o s c o p e s t o magn i fy t h e n e w m i n d sta t e s M a c h i n e M u s i c i s i n d u c i n g . More Brilliant than the Sun's a c h i e v e m e n t , t h ere fore , i s t o d e s i gn , m an u f a c ture , fabricate, s y n t h e s i z e , c u t , p a s t e a n d e d i t a s o - c a l l e d art i fi c i al d i s c o n t i n u u m for t h e F u turhyt h m a c h i n e . R ej e c t i n g to d a y ' s u b i q u i t o u s e m p h a s i s o n bla c k s o u n d ' s n e c e s s ary e t h i c a l all e g i a n c e to the s tre e t , t h i s proj e c t o p e n s up the new p l a n e o f S o n i c F i c t i o n , t h e s ecre t li fe o f for m s , t h e d i s c o n t i n u u m o f A fro D i a s p o r i c F u t u r i sm, t h e c h a i n rea c t i o n o f P h o n o F i c t i o n . I t m o v e s t h ro u g h t h e e x plo s i v e forc e s w h i c h t e c h n o l ogy i g n i t e s i n u s , t h e t e m p oral arc h i t ec t ure of i n n er s p a c e , a u d i o s o c i a l s p a c e , li v i n g s p a c e , w h ere p o s twar ali e n a t i o n breaks d o w n i n t o t h e 2 1 s t C al i e n . Fro m S u n Ra to 4 H ero, t o d a y's ali e n d i s c o n t i n u u m there fore opera tes n o t t hro u g h co n t i n u i t i es , r e te n t i o n s , genealog i e s or i n heri t a n c e s b u t ra t h er through i n terva l s , g a p s , brea k s . I t turns aw a y from roots; i t o p p o s e s c o m m o n s e n s e w i t h t h e forc e o f the f i c t i o nal a n d t h e power o f fa l s i ty. O n e s i d e e ffe c t of t h e ali e n d i s c o n t i n u u m is t h e rej e c t i o n o f any a n d a l l n o t i o n s o f a c o m p uls ory bla ck c o n d i t i o n . W h ere j o urnal i s m s t ill i n s i s ts o n a s o l i d state k n o w n a s 'b l a c k n e s s', More Brilliant d i s s olv e s t h i s s o l i d ar i t y w i t h a corp s e i n to a flui dar i ty m a i n t a i n e d a n d e x a cerb a t e d b y soundmachines. Today's c y b orgs are t o o b u s y m a n u fa c t ur i n g t h e m s elves a cro s s t i m e ­ s p a c e t o d i s in t e n s i fy th e m s elves w i t h all t h e Tu r i n g Tes ts fo r tra n s a tla n t i c, tra n s euro p e a n a n d tra n safr i c a n c o n s c i o u s n e s s: affirm a t i o n , ke e p i n g i t real, re pre s e n t i n g , s tay i n g true to t h e g a m e , r e s p e c t d u e , s t a y i n g bla ck. Al i e n M u s i c t o d a y d e l i b era t ely fa ils a ll t h ese Te s t s , these p u tr i d c orp s e s o f p e tr i f i e d m oral i s m: it tre a t s them w i t h u t ter i n d i fferenc e ; i t re pla ces t h e m w i t h n o thi n g w h a t s oe v er.

00[ -002] I t d e s e r t s fo r e v e r t h e n a u s e a t i n g a n d b i za r r e e t h i c o f ' re d e m p t i o n ' . A fro O i a s p o r i c F u t u r i s m h a s a s s e m b l e d i t s e l f a l o n g i n h u m a n r o u t e s , a n d i t t a k e s a r t i fi c i al t h o u g h t to r e v e a l t h i s . S u c h r e l i e f: j a w s u n c l e n c h , a s c o n v i c t i o n co l l a p s e s . W h e re c r i t s o f C y b e r C u l t s t i l l g a t h e r , 9 9 . 9% o f t h e m w i l l l a m e n t t h e d i s e m b odi m e n t o f t h e h u m a n by t e c h n o l o g y . B u t m a c h i n es don't d i s t a n c e y o u f r o m y o u r e m o t i o n s , i n fa c t q u i t e t h e o p p o s i t e . S o u n d m a c h i n e s m a ke y o u feel more i n te n s e l y , a l o n g a b r o a d e r b a n d o f e m o t i o n a l s p e c t r a t h a n e v e r befo re i n t h e 2 o t h C e n t u ry . S o n i c a l l y s p e a k i n g, t h e p o s t h u m a n era i s n o t o n e o f d i s e m b o d i m e n t b u t t h e e x a c t reverse: i t ' s a hyperembodiment, v i a t h e Tec h n i cs S L 1 20 0 . A n o n··s o u n d s c i e n t i s t l i ke R i c h a rd D a w k i n s ' t a l ks very h a p p i l y a b o u t c u l t u r a l vi r u s e s , ' a rg u e s S a d i e P l a n t , ' b u t d o es n ' t t h i n k t h a t h e h i m s e l f i s a v i r a l contag i o n . ' M i gra t i n g f r o m t h e l a b to t h e s t u d i o , S o n i c S c i e n c e n o t o n l y talks a b o u t cultu r a l vi r u s e s , i t i s i t s e l f a v i r a l c o n t a g i o n . I t ' s a s e n s a t i o n a l i nfectio n b y t h e s p r e a d o f w h a t I s h m a e l R e e d t e r m s a n t i p l ag u e s . M a c h i n e M u s i c d o e s n ' t ca l l i t s e l f s c i e n c e beca u s e i t c o n t ro l s t e c h n o l ogy, but beca u s e m u s i c i s t h e a r t fo r m m o s t t h o r o u g h l y u n d e r m i n e d a n d r e c o m b i n a t e d a n d r e c o n f i g u r e d b y te c h n i c s . S c i e n t i s t s s e t p r o c e s s e s i n m o t i o n w h i c h sw a l l o w t h e m u p: t h e s c i e n t i s t ' s b ra i n i s c a u g h t u p i n t h e n e t . A c i d's a l i e n fre q u e n cy m o d u l a t i o n t u r n s o n i t s dj ­ p r o ducers P h u t u r e a n d S l eezy D a n d b e g i n s to ' s t a b y o u r b ra i n ' a n d ' d i sr u p t t h o u g h t p a t t e r n s ' . Ye t i n m a g n i fy i n g s u c h h i t h e rto i g n o red i n t e r s e c t i o n s o f s ou n d a n d s c i e n c e f i c t i o n - the n e x u s t h i s proj e c t t e r m s S o n i c F i c t i o n o r P h o n o F i c t i o n - More Brillian t p a r a d o x i c a l l y e n d s u p w i t h a p o r t r a i t o f mus i c t o d a y fa r more a c c u r a t e t h a n a n y r ea l i s t i c a c c o u n t h a s m a n a ge d . T h i s i s beca u s e m o s t r e ce n t a c c o u n t s o f B l a c k M u s i c - t h o s e w h i c h fo r m t h e d o m i n a n t h u m a n i s t s t r a i n i n t h e c o m m e m o ra t i o n o f B l a c k M u s i c, i t s o f fi c i a l h i s to r i e s - a r e m o re t h a n a n y t h i n g w i s h fu l fi l m e n t s : s c e n a r i o s i n w h i c h A c i d n e v e r e x i s t e d , i n w h i c h E l e c t ro n i c j a z z n e v e r a r r i v e d , i n w h ich t h e E r a o f t h e R h y t h m a c h i n e never happened. By c o n t r a s t , More Brilliant is a m e c h a n o g r a p h y , a n o m n i d i re c t i o n a l ex plor a t i o n i n t o m e c h a n o - i nf o rm a t i c s , t h e s e c r e t l i fe o f m a c h i n e s w h i c h o p e n s u p t h e v a s t a n d p r e v i o u sly u n s u s p e c t e d c o e v o l u t i o n o f m a c h i n e s and humans in late 2oth C Black Atlantic Futurism. Ali e n M u s i c i s a l l i n t h e b r e a k s : t h e d i s ta n c e b e t w e e n T r i c ky a n d w h a t y o u t o o k to be t h e li m i t s o f B l a c k M u s i c , t h e g a p b e t w e e n U n d e rg r o u n d R e s i st a n c e a n d w h a t y o u t o o k B l a c k M u s i c to b e , b e t w e e n

00[ -001) l i s te n i n g to M i l e s o M a c e r o ' s He L o ved Him Ma dly a n d c r o s s i n g a l l thres holds w i t h a n d through i t , leaving every o l d bel i e f system: rock, j a zz, s o u l , E l e c t ro, H i p H o p, H o u s e , A c i d , D r u m ' n ' Ba s s, e l e c t r o n i cs, Tec h n o a n d d u b - fo r e v e r . T h e m a y d a y s i g n a l o f B l a c k A t l a n t i c F u t u r i s m i s u n r e c o g n i z a b i l i ty, a s e i ther B l a c k or M u s i c . S o n i c Futurism does n ' t locate you i n trad i t i o n ; i n s t e a d i t d i s l oc a t e s y o u fro m o r i g i n s . I t u p r o u t e s y o u b y i n d u c i n g a g u l f c r i s i s , a p e rc e p t u a l d a z e r e n d e r i n g t o d a y ' s s o n i c d i s c o n t i n u u m i mmed iately a u d i b l e . T h e F u t u r i s t producer can n o t be trusted w i t h m u s i c ' s heri tage. R e a l i z i n g t h i s . U K a n d U S d a n ce m e d i a s p r i n g fo r w a r d , t o m a i n t a i n t h e s e t ra d i t i o n s t h e p r o d u c e r a l w a y s a b a n d o n s . M e d i a ' s ro l e i s to d e fe n d a n essence, b y w a r d i n g o ff a l l p o s s i b l e i n fe c t i o n s : j o u r n a l i s t s b e c o m e m i s s i o n a r i e s o n b e h a l f o f H i p H o p ; t h e y b a t t l e f o r t h e s o u l o f Tec h n o . W h i c h i s w h y a t C e n t u r y ' s E n d y o u t u n e i n to s e n s o r y fre q u e n c i e s u n d e t e c t a b l e t o t h e h a p p y t i n n i t u s o f g o o d s o l i d j o u r n a lis m . Y o u a r e w i l l i n g l y m u ta t e d b y i n t i m a t e m a c h i n e s , a b d u c ted by a u d i o i n to t h e p o p u l a t i o n s o f y o u r b o d i e s . S o u n d m a c h i n e s t h ro w y o u o n to t h e s h o r e s o f the skin you're in. The hypersen s u a l cyborg experiences herse l f a s a g a l a x y of a u d i o t a c t i l e s e n s a t i o n s . You are not censors but sensors, not aesthetes but kinaesthetes. You a re s e n s a t i o n a l i s t s . Y o u a r e t h e n e w e s t m u t a n t s i n c u b a ted i n w o m b ­ s p e a k e r s . Y o u r m o t h e r, y o u r f i r s t s o u n d . T h e b e d r o o m , t h e p a r ty, t h e d a n c e fl o o r, t h e r a v e : t h e s e a r e t h e l a bs w h e r e t h e 2 1 s t C n e r v o u s s y s t e m s a s s e m b l e t h e m s e l v es, t h e m a t r i c e s o f t h e F u t u r h y t h m a c h i n i c D i scont i n u u m . T h e future i s a m u c h better g u i d e to t h e present t h a n t h e p a s t . B e p r e p a r e d , b e r e a d y t o t r a d e e v e ry t h i n g y o u k n o w a b o u t t h e h i s t o ry o f m u s i c for a s i n g l e g l i m ps e o f i t s f u t u r e .

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01 [00 1 ] WORLD 4: M UTA NTEXTU RES OF JAZZ Wo r l d 4 T h e l a s t 2 d e c a d e s o f j azz c o n s t i t u t e a c o l l e c t i v e m a c h i n e for forge t t i n g t h e y e a r s 6 8 7 5 t h e E r a w h e n i t s l e a d i n g p l a y e r s e n g i n e e r e d j azz i n t o ' -' , a n A fr od e l i c S p a c e P r o g r a m , a n A l i e n Wo r l d E l ec t r o n i c s. 7 0 s fu s i o n , 8 o s n e o - c l a s s i c a l , gos A c i d J a z z , j azz ra p , freej a z z : a l l t h e s e b i t t e r e n e m i es a r e u n i t e d i n t h e i r a b s o l u t e a v e rs i o n / a m n e s i a to t h e J a z z F i s s i o n A g e . A l l h a r k b a c k t o b e fo r e o r a ft e r t h e E l ec t r o n i c E r a t h a t s t a r t s w i t h G e o rge R u s s e l l ' s '68 Electronic Sonata for Souls L o ved by Nature and ends w i t h ' M a c e r o ' s fi M i l e s 's Dark Magus i n 75. F r o m Ra to G e o r g e R u s s e l l to M i l e s fi M a c e r o to A l i c e C o l t r a n e t o P h a r o a h S a n d e r s t o H e rb i e H a n c o c k t o E d d i e H e n d e r s o n to J u l i a n P r i e s t e r t o T h e To n y W i l l i a m s L i fe t i m e to L a r r y Y o u n g a n d o n , t h e I n n e r S p a c e A g e g e n e r a ted t h e m o s t a u d a c i o u s , a m b i t i o u s a n d a we - i n d u c i n g m u s i c to e m e rge from A m e r i c a . B u t t o d a y i n ' 9 8 , i t i s a s i f t h e F u t u r h y t h m a c h i n e s o f t h i s E l ec t r o n i c E r a h a d n e v e r e x i s t ed . M u s i c h a s u t t e r l y r e t r e a t e d from t h e tow e r i n g , o v e r w h e l m i n g a m b i t i o n o f t h i s e r a . J u s t l i ke Te c h n o , J a zz F i s s i o n­ A m e r i c a ' s g r e a t e s t m o m e n t - h a s b e e n u t t e rly d i s a p p e a re d . E l e c t r o n i c j a zz i s w h e n t h e e n g i n e e r c r o s s e s t h e g l a s s . E l e c t ric J a z z

01[002] p e o p l e s t h e w o r l d w i t h h a llu c i n a t i o n s . As tro jazz i s A l i c e C o l t r a n e blas p h e m i n g a ga i n s t j a zz by rem i x i n g A Love Supreme. J a z z F i s s i o n d i s s olves t h e b o r d e r b e t w e e n m u t e a n d t r u m p e t , w a h - w a h a n d o r g a n , e ffect a n d i n s t r u m e n t . P s y c h e d el i c J a zz d e r e a l i z e s s o u n d i n t o h o r n e t s and quasars. Cosmic jazz is unease, the monstrous d e l i q uescence of the m i x i n g d e s k . Wo r l d 4 j a z z i s a n o m i n o u s d r i ft t o w a r d s ori g i n s u n k n o w n . Attribute: Assassin Jazz F i s s i o n d i d m o r e t h a n m elt t h e h i e r a r c h i e s w h i c h j a z z t ra d i t i o n w o r k s s o h a rd t o m a i n t a i n . As t h e c y c l o t r o n t h a t p r o d u c e d m u t a n t m a t t e r a n d p o l y r h y t h m i c p s y c h e d e l i a s , i t t r i g g e r e d a p o s t -j a z z u n i v e rse. T h e dates for t h e a s s a s s i n a t i o n o f jazz a r e n u m e r o u s and all i t s a s s a s s i n s h a v e l o n g s i n ce s t e p p e d for w a rd : C o l t r a n e , O r n e t t e , Ra , M i l e s . U n l i ke t h e Art Ense m b l e ' s declaration o f jazz as ' G reat Black Music', Futurhythmic F i s s i o n t r e a t s t h e Tr a d i t i o n a s effects, i n p u t s to b e fed i n to i t s g i a n t Connection Machine. L iqu e fy i n g e v e r y t h i n g g e n e r a tes a c o n fu s i o n t h a t q u i c k l y c a l c i fi e s , i n to ort h o d o x y o n o n e h a n d a n d i n to n e a r-total a m n e s i a o n t h e o t h e r . B o t h r e s p o n s e s w e r e a c c e l e r a ted by t h e e n g i n e e r-m u s i c i a n s t h e m s e l v e s , w h o , d i s p i r i te d a n d d r a i n e d by p o o r s a l e s , s w i tc h e d from fi s s i o n t o fu s i o n a n d d i s p a ra g e d t h e Afro d el i c e r a a s a r a s h e x p e r i m e n t , a fa i l u r e . Anachronic Cybernetics of the World: George Russell T h e 2 v e rs i o n s of c o m p o s e r G e o rge R u s s ell ' s Elec tronic Sonata for Souls Loved by Na ture, from ' 6 8 a n d ' 8 o, a r e a u d i t i o n s o f j a zz a u g m e n t ed fo r t h e u n k n o w n h a z a r d s of i n n e r s p a c e . I n t h e C y b e r n et i c A g e , j a z z m u s t m o v e t h r o u g h t h e c e n t r e o f t h e cyc l o n e , i m p l o d e a n d be re a s s e m bled a s ele c t r o m a g n e t i c d u b . I n s t e a d o f i n v o k i n g j a z z a s a n a r t , a be a u t i fu l s o u l w h i ch defies the m ilita ry industrial complex, Russell technologizes j azz u n t i l i t b e c o m e s a n a r t - i n d u s t r i a l c o m p l e x: ' T h e t a p e w a s p r e p a red a t t h e E l e c t ro n i c M u s i c S t u d i os o f t h e S w e d i s h Ra d i o E n s e m b l e o n a h u ge c o m p u t e r . It i s m e a n t to s u g g e s t t h a t m a n , in the face o f e n c r o a c h i n g tec h n o l ogy, m u s t c o n fro n t t e c h n o l ogy a n d a t t e m p t t o h u m a n i z e i t , to e x plore i n n e r, a s w ell a s o u t e r s p a c e . '

01[003] M ixi l l o g i c al For R u s s e l l , t h e Electronic Sonata is a g l o b a l m u s i c, a ' pa n s ty l i s t i c e l ec t r o n i c t a p e ; a t a p e c o m p o s e d o f fra g m e n t s o f m a n y d i ffe r e n t s t y l es o f m u s i c , a v a n t - g a r d e j a z z , r a ga s , b l u e s , r o c k , s e r i a l m u s i c e t c , t r e a t e d e l ectron i ca l l y . . . a p a l a t e u p o n w h i c h n o n e l e c t ro n i c m u s i c a l s t a t e m e n t s o f a p a n s ty l i s t i c n a t u r e c o u l d b e p r oj e c t e d . ' T h i s c o n v e r g e n c e o f c o l l a g e s t u r n s t h e Electronic Sonata i n t o a m i x i l l o g i c a l m a c h i n e : t h e fl e e t i n g friction o f timbral i n congru ities. incompatible sound bl ocs rubbing a ga i n s t each o t h e r . B l u r r i n g t h e rea l t i m e', t a p e d i s t i n c t i o n c r e a t e s a fi c t i o n a l s o n a t a o f i m p os s i b l e m u s i c . The c o l l a ge of h e a v y r o ck, I n d i a n r a g a s a n d M o r o c c a n v o i c e s i s p r o c e s s e d i n t o a n e l ec t r o m a g n e t i c m i r r o r m i x , t h e n l o o p e d i n t o t a p e s w h i c h Te rj e Ryp d a l s l a s h e s a t w i t h g u i t a r a n d j a n G a rb a r e k c o r r o d e s w i t h a s t r i n g e n t t e n o r s a x . Ta p e • e l e c t ro n i c t r e a t m e n t s + l i ve m u s i cs = Te x t u ro l og i c a l S t r a t u s p h u n k : ' T h e r e a r e t h r e e p e o p l e p l a y i n g a t o n c e on t h a t t a p e b u t the tape i s so i n tegrated with the other el ectron i c material i t ' s hard to d i s t i n g u i s h w h a t ' s wh a t . ' E l e c t ro n i c m i ra g e s d e s c e n d i n p a l l s . s h r o u d i n g t h e o u t l i n e s o f s o u n d i n a m o r p h o u s r e e fs o f f o g t h r o u g h w h i c h m i d ra n g e a t t a c k s s u rge. J o u r n e y to the C e n t r e o f t h e H e ad U n l i k e H o l g e r C z u k a y ' s s h o r t w a v e o r Lee P e r ry's tv s a m p l i n g , R u s s e l l ' s e l e c t ro m a g n e t i c fo r c e fi e l d fa l l s i n a h a z e a s i n d e fi n i te a s a n e u ro m a n t i c s k y t u n e d to t h e c o l o u r o f d e a d t v . T h e v a p o u rd r i ft o f t a p e h i s s s e e p s t h r o u g h t h e j a gged g u i t a r s i gn a l s a n d s a x t o n e s , d e r e a l i z i n g t h e b o r d e r s b e t w e e n l i ve a n d s y n t h e t i c n o i s e , a n d u n re a l a n d rea l t i m e . i n t o c o l o u r f i e l d s t h a t f l i p fl o p a t t h e p e r i p h e ry o f p e r c e p t i o n . L i s t e n i n g t o t h e Electronic Sonata, Events I-XIV i s l i ke g r o w i n g a 3 r d E a r. T h e p e r p e t u a l p a l i m p s e s t o f i m p o s s i b l e e v e n t s d e m a n d s a n e w n e u ro m u s c u l a r i n t e r fa c e . Y o u b e c o m e a h u m a n O n c o m o u s e , e a r s p r o u t i n g from y o u r n e c k i n a f l e s h y u m b re l l a . F r ag m e n t al At 6 m i n s fog s e e p s in o v e r t e s t - t o n e s a n d c l a n k i n g c h a i n s . A p p l i e d i n t e n s i v e l y, e l e c t r o n s c o n fu s e s o l i d s w i t h s i g n a l s·a n d m e t a l w i t h i n fo r m a t i o n , m y s t i fy i n g t h e e a r a s s o u n d s e s c a p e t h e i r a c o u s t i c b o d y a n d s h e d t h e i r e n v e l o p e to b e c o m e fo r m l e s s . S p a c e c o a g u l a t e s t h e n c r i n k l e s , a l t e r i n g i ts d e n s i ty, c o n v o l u t i n g p e r s p e c t i v es u n t i l s o u n d s r e a c h y o u i n fra c t i o n s a n d fra g m e n t s . Y o u r p o w e r s o f r e c o g n i t i o n a r e s h o t t o h e l l a s

01[004] y o u m o v e t h r o u g h a ba ffling r e p u b l i c o f i n d i s t i n c t m a t t e r . C u r r e n t attracts you towards a powers tation that s h r i n k s i nto coins s p i n n i n g on g l a s s . A t 13 m i n s e v e ry t h i n g i s s u ffu s e d i n a n u n l o c a t a b l e r o a r , h e a r d t h r o u g h f o g b a n k s l i ke V i t t o r i o G e l m e t t i ' s o m i n o u s d r o n e s i n A n to n i o n i ' s ' 6 4 fi l m II Deserto Russo. A t 1 5 m i n s , G a r b a r e k ' s S h e p p-s t y l e s a x . a l l a c r i d Two m b l y - i z e d s c r i b b l e s , s t a r t s d u e t i n g w i th a h i g h freq u e n c y . V i o l i n s s w o o p a b y s m a l l y . G ra v i ty d ro p s o u t . o p e n i n g a h o r i z o n a t t h e fa r e d g e o f perce p t i o n . O r g a n s p i r a l s t h r o u g h i n c u r l i n g fl a m e s a s A fr i c a n p e r c u s s i o n fa d e s i n t o h e a r i n g . A t 20 m i n s , o s c i l l a t o r s m a t e r i a l i z e i n to e a r s h o t , fo r m i n g u n k n o w n m e t a l l o p h o n i c a l l o y s , m e l d i n g w i t h m a r i m b a m a z e . ' T h e t h i n g t h a t s o u n d s l i ke a m a r i m ba i s a c t u a l l y a n o l d A fr i c a n m a n a n d h i s t w o s o n s . T h e v o i c e s h e a r d o n t h e Electronic Sonata a re o f a 7 0 - y e a r - o l d A fr i c a n a n d h i s t w o s o n s . A n A fr i c a n l u t e i s b e i n g u s e d . A f r i e n d b r o u g h t m e a t a p e o f U g a n d a n fo l k m u s i c so we j u s t r a n t h a t t h r o u g h s o m e r i n g m o d u l a to rs . ' Te x t u re s s u p e r i m p o s e e a c h o t h e r b e fo r e b e i n g s w a l l ow e d u p b y t h e r e v e r b e r a t i o n s f r o m a h i d d e n p o w e r s o u r c e . A t 23 m i n s. t a p e - s i m u l a ted s y n t h e t i c s o n o r i t i e s s t r a fe a c ross a h a r m o n i c c u r t a i n o f c h u r c h orga n . Tu m b l i n g m o t i o n , l i k e u r c h i n s d r u m m i n g i n t h e c a v i t i e s o f c a s t m e t a l , s l o w l y r e s o l v e s i t s e l f i n to p e rc u s s i o n , p u l l i n g fo c u s o n y o u r h e a r i n g . Textural Strata o f the M i x I n Part II o f Electronic Sonata for Souls Loved by Nature, N o r t h A fr i c a n l u t e a n d v o i ce s i g n a l s t r a v e l a c r o s s s p a ce, p a n n i n g p a s t e a c h o t h e r . H a n d d r u m s t h row o u t r u s t l i n g b r i d ge s o f i n te r m i t t e n c e . T h e s e c o n d v o i c e fa d e s i n to e a r s h o t , m a t e r i a l i z i n g o u t o f c y m ba l l i c s h i m m e r . T h e v o i c e s i n Part I I Event VIJJ e x i s t i n t h e s i m u l t a n e o u s f u t u r e - p a s t t i m e o f t h e m i x . T h e Sonata i s m i x o l o g y i n u n 1 r e a l t i m e . At 3 m i n s . R y p d a l's g u i t a r c r a s h e s i n . . i s s u c ked i n to t h e m a w o f r i n g mo d u l a t i o n . A t 6 m i n s , t h e t a p e i s t r e a t e d u n t i l i t b e c o m e s a g h o s t o r c h e s t r a . C i rc l e d b y e s c a l a t i n g rad i i , y o u h e a r a n e w w o r l d , a w r a i t h s c a p e of d e l oc a l i z e d c h i m e s , e c h o e s a r r i v i n g from o r i g i n s u n k n o w n . d i s ta n t s p l a s h e s . At 1 2 m i n s , s p a c e u n d ergoes t o p o l o g i c a l i n vo l u t i o n , rotating osc i l l ations through a helical scan. Bass and p i a n o momenta r i l y s u r fa c e , a c o u s t i c re l i c s fl u n g from t h e edge o f t h e e l e c t r o m a gn e t i c v o r t e x . At 1 6 . 50 m i n s . s h e e t s o f w a h - w a h c u t t h r o u g h s p a c e , a r e b a ffl e d b y a fogba n k w h i c h fa l l s b e fo r e y o u r e a r s . You s t o p h e a r i n g t h r o u g h to t h e g u i t a r; t h e s p a c e t h r o u g h w h i c h s o u n d trave l s t u r n s g a s e o u s . I n s te a d o f t r a n s p o r t i n g s o u n d, s p a c e t h i c ke n s a n d i m pe d e s i t .

01 [ 0 0 5 ] T h e C o n c e p t e c h n i c s o f De s t r a t i f i e d D u b B y reco n fi g u r i n g j a z z t h r o u g h t h e m a g n e t i c l a b y r i n t h , R u s s e l l a n d t h e e n g i n e e r s a t t h e S w e d i s h R a d i o E l e c t ro n i c M u s i c S t u d i o m a n u fa c t u r e t h e magnetic vortex of dub in '68. A t 1 8 m i n s . p e rcus s i o n t u m b l e s l i ke a d r u m i s b e i n g k i c ke d o v e r . T h e c h u rc h o r g a n p l a y s u n d e r w a t e r . S h o r t w ave l e a ka g e f u s e s w i t h t h e t ra n s i e n t t o n e s o f r a d i o , m o b i l e a n d b e l l t r e e s . A t 22 m i n s , t h e d r o n e m o d u l a t e s i n t o t h e w h i n e o f a e r o p l a n es t a x i i n g o n t h e r u n w a y . S o u n d s l o se t h e i r h a r m o n i c p r o f i l e , a l t e r t h e i r s t a b i l i z e d i d e n t i t y i n t h e e l e c t r o m a g n e t i c p r o c e s s o f fo l k i m p l o s i o n . E l e c t ro n i c s , a s M c L u h a n recogn i zed, m a s s i fi e s l i s te n e r s i n to e l ec t r i b e s . B u t e l e c t ro n i c s d o e s n ' t d e ca n t t r i b e s from t ra d i t i o n i n to t h e p r e s e n t . beca u s e Trad s o n i c tec h n o l o g i e s a r e a lready fu t u r i s t i c . 'The o l d N o rweg i a n c h u r c h o r g a n w a s t h e m a t e r i a l t h i s w h o l e t a p e i s b a s e d o n i n conj u n c t i o n w i t h t h i s Afri c a n m u s i c w h i c h f i t s i n t o t h e w o r l d c u l t u r a l i m p l o s i o n . I w a n t e d to r e f l e c t t h e c u l t u r a l i m p l o s i o n o c c u rr i n g a m o n g t h e Earth's population, their coming together.' Su b s u m p t i o n R h y t h m R u s s e l l ' s m a g n e t i c m i xo l ogy a c c e l e r a t e s a d i s c o n t i n u u m i n w h i c h t h e fu t u r e a r r i v e s from t h e p a s t . T h e p e r c u s s i o n c h o i r i s a R h y t h m a c h i n e s i m p l i fi e d b y t h e t a p e d e l a y o f S t eve R e i c h - e r a m i n i m a l i s m . T h e G h a n a i a n d r u m c h o i r d i s t r i b u tes p o l y r h y t h m s i n to s t r a t a t h a t R u s s e l l t e r m s V e r t i c a l F o r m : ' I n t h e A fr i c a n d r u m c h o i r, o n e d r u m m e r i s t h e r h y t h m i c g r a v i t y w h i l e t h e o t h e r s g ra d u a l l y l a y e r o n s o p h i s t i c a t ed r h y t h m s o n t o p o f t h i s t o n a l c e n t r e . T h e w h o l e i s n ' t rea l l y evo l v i n g i n a h o r i z o n t a l w a y ; i t ' s evo l v i n g i n c o m p l e x i ty a n d d e n s i t y . I t ' s vert i c a l e n e rgy ge t t i n g h i g h e r a n d h i gh e r, c o m p o u n d i n g . · T h e d r u m c h o i r co m p l e x i fi e s t h e b e a t i n t o d i s t r i b u te d Po l y r h y t h m a c h i n e s , w e b b e d n e tw o r k s o f p o t y N c o u n t e r N c o n t r a N c r o s s ' s t a ggered r h y t h m s t h a t fu n c t i o n l i ke t h e d i s p e r s e d a r c h i t e c t u r e o f a r t i fi c i a l l i fe by g e n e ra t i n g e m e r g e n t c o n s c i o u s n e s s . R u s s e l l : ' M u s i c i s a r c h i t e c t u r e . I b u i l d s t r u c t u r e s . B u i l d i n g s g o u p - they ' r e v e r t i c a l for m s . M y fo c u s i s o n t h e ve r t i c a l evo l u t i o n o f a form, n o t n e c e s s a r i l y o n t h e h o r i z o n t a l / l i n e a r e x p o s i t i o n o f t h a t fo rm . ' R h y t h m =w e b s o f i n te r m i t t e n c e , cy c l i c r h y t h m s t h a t a r e i n s y n c h b u t o u t o f p h a s e . T h e c l a s s i c a l m u s i c s o f t h e G h a n a i a n d r u m c h o i r, B a l i n e s e ga m e l a n o r c h e s tra s , I n d i a n a n d j aj o u ka m a s te r m u s i c i a n s a r e w h a t p r o d u c e r K i rk D e G i o r g i o t e r m s A R Ts - A d v a n c e d R h y t h m i c Te ch n o l o g i e s - a l re a d y c e n t u r i e s o l d .

01[0 0 6 ] T h e o l d e r t h e R h y t h m a c h i n e , t h e m o r e fu t u r i s t i c i t i s . F o r G e orge R u s s e l l - l i ke S t o c kh a u s e n , C o l t r a n e and H o l ge r C z u k a y - to go back i n to a G h a n a i a n o r I n d i a n o r V i e t n a m e s e s o n i c past i s t o go fo r w a r d into a n e w f u t u r e . To l i s t e n to a n A RT i s h e a r i n g t h e e vo l u t i o n of t ec h n o l ogy 5 centuries down the l i n e . Electronic Swarm Program: Teo Macero & Miles Davis, Herbie Hancock T h e M e d u s a C o m p l e x o f M u t a nte x t u r e s L a u n c h e d b y p r o d u c e r Teo M a ce r o a n d c o m p o s e r M i l e s D a v i s , a m p l i fi e d A fr od e l i a t r a n s m o l e c u l a r i z e d t h e s o l i d s t a t e s o f s o u n d i n to a c o n t i n e n t a l d r i ft . I n p u t s i n c l u d e H e n d r i x - e ra r o c k , fuzz, w a h - w a h p e d a l s , S l y a n d t h e Fa m i l y S t o n e's s p a c e d fu n k, t h e e l ec t r o n i c s o f t h e c l a v i n e t , t h e A r p , t h e M o o g , t a p e - d e l a y d u b , t h e t e n s e n e rv o u s s t r i n g a t t a c ks o f V a r e s e , t h e tabla a n d sitar of Bada l Roy, the hyperrhyth m i c percus s i o n webs o f H e r m e t o Pas c o a l a n d A i r t o M o r e i r a . B e t w e e n ' 6 8 a n d ' 7 5 , M a c e r o & M i l es , H a n c o c k eta/ t u r n e d e ffec t s i n t o i n s t r u m e n t s , d i s s o l v i n g t h e h i e r a r c h y by c o n n e c t i n g b o t h i n to a c h a m e l e o n i c c i r c u i t w h i c h g e n e r a ted n e w m u t a n te x t u r e s . A m p l i fi e d t r u m p e t , w a h - w a h p e d a l , c l a v i n e t , e c h o p l e x u n i t , o r ga n , g u i t a r : a l l t h e s e b e c a m e n e w i n s t r u m e n t s , gra fted h y b r i d s , u n i c o r n s o u n d s , c e n t a u r s o u n d s . E ffects a r e n o w a c o u s t i c p r o s t h e t i c s , a u d i o e x t e n s i o n s , s o n i c d e s t r a t i fi e r s , e l ec t r i c m u ta t o r s , m u l t i p l i e rs a n d m u ta g e n t s . C y b e rn e t i c i s t K e v i n K e l l y h e a r s a n e l e c t ro n i c e c o l ogy e m e r g i n g , where 'one machine's input is another machine's outpu t . ' I n this Medusa C o m p l e x o f fe e d s a n d l e a d s , s o u n d m a c h i n e s ' fo r m fo o d w e b s ' a n d p r e y u p o n e a c h o t h e r . I n H e r b i e H a n co c k ' s ' 7 3 Horn ets, t h e s e e t h i n g , t r e a c h e r o u s 1 9 m i n 3 6 s e c fu t u r h y t h m a z e e x e m p l i fi e s t h e m u ta g e n i c m a t r i x . Pa s s i n g t h e c l a v i n e t s i g n a l t h r o u g h t h e fuzz- w a h p e d a l s e n d s t h e synthesizer through t h e body of t h e guitar, prod ucing a boaconstrictor t o n e t h a t c o m b i n es t h e c l e n c h o f t h e c l a v i n e t w i t h t h e c h o k e o f t h e w a h ­ w a h . M o v i n g t h r o u g h t h e e c h o p l e x , c o n s t r i c t i o n i s c l o n e d fro m a s i n g u l a r s e n s a t i o n i n t o a n e n v i r o n m e n t t h a t d u n k s y o u h e a d fi r s t i n a h o r d e o f heat-seeking killer bees. L i s t e n i n g b e c o m e s a c h a s e t h r o u g h t h e t h i c k e t s o f p e rc u s s i o n . M o t i l e t o n a l i t i e s , o r i g i n u n k n o w n , s w a r m a ft e r y o u , b u g g i n g y o u o u t a s t h e y d i s a p p e a r a r o u n d t h e e d g e s o f t h e r h y t h m a z e , o b s c u r e d by overgrow t h ,

01[ 0 0 7) r e b o u n d o f f t h e wa l l s o f t h e w e b w e a v e . O n M a c e r o ' s G M i l e s ' Gondwana from Pangaea, t h e orga n i s s e n t through wah-wah until i t plays sustai ned chords from an impossibly e l o n ga t ed g u i t a r. DeStratifiers E l ec t r o n i c e ffe c t s a re d e s t ra t i fi e rs b e c a u s e t h e y d i s s o l ve t h e o r ga n i z a t i o n o f t h e i n s t r u m e n t , l i q u e fy t h e s t ra t i fi c a t i o n o f s o u n d . I n t h e A fro d e l i c E r a, e ffe c t s d e fe c t f r o m c a u s e , red i s t r i b u t i n g t h e m s e l v e s u n t i l it's impossible t o h e a r w h i c h instrument generates which s o u n d . A s o u n d· •vi s i o n s c h i z m a t i x e m e r g e s ; a u d i o e s c a p e s fro m i t s a c o u s t i c b o d y , c o m p e l l i n g a n e w m e n a ge r i e o f s o u n d m a c h i n e r y , twea k i n g y o u to i n v e n t f i c t i o n a l i n s t r u m e n t s from W o r l d 4 · T h e d i s t i n c t i o n b e t w e e n rea l m u s i c a n d s o u n d e ffe c t s c o l l a p s e s , i n a s t r e a m o f s o n i c m a t t e r t h a t c r o s s e s from t h e l i q u i d s t a t e o f p i a n o s u s t a i n i n t o t h e g a s s ta t e o f m u t e h o r n v a p o u rd r i ft . He Loved Him Madly i s a l l d e r e a l i z a t i o n , v a p o u r t ra i l s o f o r i g i n l e s s s o u n d , v i s c o u s d r i ft of o r g a n trumpet = = g u i t a r . M a ce r o r e m i x e s t h e o r g a n from a n o t h e r s e s s i o n o n t o t h e Po l y R h y t h m e n g i n e , fi l t e r s t h e t r u m p e t t h r o u g h t h e m i x i n g d e s k , t h r o u g h e ffe c t s d e s i gn e d by C o l u m b i a ' s e n g i n e e r s . The Sch i z o p h o n i c Era S c h i z o p h o n y i s R . M u r r a y S c h a fe r ' s t e r m f o r t h e a u d i b l e i n fe r n o o f t h e p o s t - w a r s o u n d s c a p e , t h e e r a w h e n i n dus t r i a l c o m m u n i c a t i o ns s p l i t s o u n d from i t s s o u r c e s , ' b e co m i n g a fe a r f u l m e d i u m b e c a u s e w e c a n n o t see who or what produces the sound: a n i n v i s i b l e excitement for the nerves.' With Ma cero G M i l es , schizophony becomes endem i c . Insectile Text u rhythm Yo u ' r e i n w h a t p r o d u c e r D r S . G a c h e t c a l l s t h e a u d i o m a z e , t h e e l e c t r i c insectland that i n c i tes i n v i s i b l e excitement. I nv i s i b l e because a l bums from t h e E l ec t r o n i c E r a t e e m w i t h p e rc u s s i o n t h a t ' s e v o l v e d i n t o u n s e e n i n s e c t i l e l i fe fo r m s . T h e s l ee v e f o r ' 75 ' s Dark Magus s h o w s M i l e s w e a r i n g b u g - g r e e n f l y s h a d e s , a d a p t i n g to t h e a u d i o m e n a g e r i e b y b e c o m i n g i n s e c t i l e h i m s e l f. Superfly s h a d e s a c c e s s t h e t s e t s e f l y ' s m a gn i fi e d v i s i o n . S i g h t b e c o m e s c o m p o u n d e d , t r i gge r i n g t h e r e t i c u l a te d h e a r i n g e l e c t ro n i c j a z z d e m a n d s . C h i t t e r i n g , c a w i n g , c r e a k i n g , s h r i e k i n g, r a t t l i n g, s h a k i n g : p e rc u s s i o n b e co m e s a n o n l i n e a r m a l e v o l e n c e . R h y t h m i s a b i o t ec h n o l o g y . The

01 [ 0 0 8 ] H a n c ock P o l y R h y t h m e n g i n e i s a b i o t e c h i n p e r p e t u a l m o t i o n . I t s t e x t u r h y t h m fi e l d s a r e t o o d i s t r i b u t ed a n d t o o fu g i t i v e for t h e e a r to c a t c h . P e rc u s s i o n becomes a rhythm s h ow e r in w h i c h d i s t r i b u ted beats t r e a c h e r o u s u n d e r fo o t, g l i m p s e d o v e r h e a d - fa l l t h r o u g h t h e b o d y l i ke rain through l ianas. T h e s k i n h e a r s t h e p o l y r h y t h m i c s h o w e r a s a cre e p i n g , w r i t h i n g t a c t i l i ty . S u d d e n y e t i m pe r c e p t i b l e s h i fts a c r o s s t h e a m p l i fi e d p e r c u s s a p e l l i c fi e l d - from r a tt l i n g t o c h i t t e r i n g - c o n d u c t t h e s e a c r o s s the s k i n , dropping body temperature as they writhe and seize the dermal t e r ra i n . C r i c k e t s , c i c a d a s , t r e e frogs, h u m m i n g b i r d s fl i t t i n g b e t w e e n t h e c a r b o n - b a s e d ra i n fo r e s t . H e n c e t h e R h y th m e n g i n e o f M a u p i n , H e n d e r s o n e t a / ca l l i n g t h e m s e l ve s ' H e a d h u n te rs ' , t a k i n g o n P y g m y m a g i c . S i d e 2 o f '73 ' s Sex ta n t, t h e fi n a l a l b u m i n h i s c o nv u l s i v e , b r i l l i a n t Wo r l d 4 Tri l o g y- a ft e r '71's Mwandishi a n d ' 7 2 ' s Crossings - i s ta k e n u p e n t i r e l y by t h e m a l i g n a n t h y b r i d s o f Horn e ts. H a n c o c k ' s c l a v i n e t a n d B u s t e r W i l l i a m s ' s fuzz b a s s d o u b l e e a c h o t h e r i n t h r o t t l i n g c h o r d s t h a t c o i l a n d u n fu r l l i ke fl a r i n g c o b r a s . Aga i n s t a trunku l a r s u p erheavy bass, B i l l y Hart's cymbal h i ss s i m m ers m a i n t a i n i n g a p n e u m a t i c p r e s s u re w h i c h s t o k e s t h e P o l y R h y t h m e n g i n e , the i m m i nent threat of the groove. j u l i a n Priester's bass cl arinet i n s i n u a t e s a s i n i s t e r m o t i o n l i ke a s u b t e r ra n e a n s i d e w i n d e r u n d u l a t i n g o v e r s h i ft i n g s a n d . Pa t r i c k G l e a s o n ' s s y n t h o s c i l l a t e s from b a s s d r o n e s to t r e e fr o g c r o a k s to s q u e a l s t h a t l e a d i n to a b y s m a l s q u a w l s . B y t h e a l i e n p ower o f dis trib u t e d b e in g a g e n t s c a n b e l i ft e d in t o a typ e o f c o l o n y in t e llig e n ce b y co n n e c ti n g t h e m i n b u lk Kevin Kelly The P a ra h u m a n B i o l ogy o f S o u n d M a c h i n e s I n t h e A fro d e l i c E r a , p e r c u s s i v e s t r a t a a n d p o l y r h y t h m i c e n g i n e s c o n v e r ge i n a z o n e o f p a r a h u m a n e l u s i v e n e s s . F u g i t i v e a n d t e n s i l e , Wo r l d 4 h y p e r r h y t h m m a kes a u d i b l e t h e t r e a c h e r o u s b i o c o m p u t e r o f A m o s T u o to l a ' s ' 5 8 n o v e l M y Life i n the Bush o f Ghosts. Tu o to l a ' s c a rcera l B u s h o f G h o s t s , l i ke t h e A m a z o n i a n j u n g l e o r t h e C e n t r a l A fr i c a n ra i n fo r e s t , i s a d i s t r i b u te d b i o co m p u te r , a n e x a m p l e o f Ke l l y's ' m a s s i v e l y p a ra l l e l b i o e n g i n e e r e d a d a p t a t i o n . N a t u r a l evo l u t i o n i s a c o m p u t a t i o n a l p ro c e s s o f a d a p t a t i o n t o a n e v e rc h a n g i n g e n v i r o n m e n t . '

01 [ 0 0 9 ] My Life in the Bush of Ghosts a c ce l e ra t e s ' t h e a l i e n p o w e r o f d i s t r i b u t e d bei n g ' i n to a m ed i u m , a c r o s s w h i c h s i g n a l s a n d fre q u e n c i es c r a c k l e i n to e l e c t r o m a g n e t i c g h o s t s . T u o t o l a o p e n s a t e c h n o l o g y - m a g i c c o n t i n u u m i n w h i c h ra d i o b e c o m e s a n I n v i s i b l e M a g n e t i c M i s s i ve s e n t to y o u fro m H o m e . TV turns i n t o a ghost m ed i u m h a u n t e d b y t h e t e l ev i s i o n ­ h a n d e d g h o s t e s s : 'Wh e n s h e t o l d m e to l o o k a t h e r p a l m a n d o p e n e d i t nearly t o touch my face, i t w a s exactly as a television.' I t i s t h e e n t ire g l o b e p u l s a t i n g i n my b r a i n /llaf:i Klarwein T h e E l e c t r i b a l C o n t i n u u m < > T h e P a s t A r r i v e s f r o m t h e Fu t u r e E l e c t r i c m a c h i n e s feed fo r w a r d i n to t h e p a s t . T r i b a l t e c h n o l ogy a r r i ve s f r o m a m a r a u d i n g fu t u r e . M a t i K l a r we i n ' s a n d Ta d a n oo r i Yoko o ' s M i l e s Davis and Robert Springett's H a ncock covers are Sonic Visions, s o u n d i ngs i n p a i n t which drama tize t h i s e l e c t r i b a l conti n u u m . O n Sextant a N o r t h A fr i c a n b o y a n d g i r l d a n c e o n a d e s e r t p l a n ed l i ke a r u n w a y. A c r a t e r e d m o o n h a n gs o v e r t h e m . A g i a n t c h a i n o f b e a d s , i t s 2 s t r a n d s b r e a k i n g o u t o f a n a m u l e t l i ke m e t a l l i c a n t e n n a e , f l o a t s p a s t a z i gg u r a t e d p y ra m i d , a B a by l o n i a n· E gy p t i a n o b s e r v a t i o n t o w e r . • F l i p t h e s l e eve o v e r a n d t h e r e ' s a n a l i e n A f r i c a n i n a r o b e , h i s b o n y f i n g e r s p o i n t i n g to t h e g i a n t c h a i n. Be h i n d h i m i s a n a z u r e B u d d h a m a s k w i th r o s eate e y e s , s u n b u r s t i n g b e h i n d i t , c l o u d s b i l l ow i n g . W i t h Bitches Brew K l a r w e i n il l u s t r a t e s h i s e l e c t r i b a l c y b o r g s , p a r a d i s i c a l g i r l-boy co u p l e s . O n t h e fro n t , t h e g i r l ' s h a i r t w i s t s i n to a s w i r l o f s t r i p e d g a s t h a t h u r l s i t s e l f a c r o s s t h e t h e r m a l c u r r e n t s i n to a b l u e - b l a c k s t o rm c l o u d . I t ' s a revers i b l e w e a t h e r c i rcui t , so t h e e l e c t r i c storm s i m u l taneously generates D a l i ' s atmospherocep h a l i c current which p r o d u c e s t h e g i r l . O n t h e b a c k , a s i n g i n g m a n , fa c e s e t i n d e l i r i o u s c o n c e n t ra t i o n , i s s u rr o u n d e d b y a s t e l l a r fo r c e fi e l d . Aga i n s t a s t a r c o s m o s , a n a l b i n o b o y , t h e r ev e r s e o f t h e c a l m b l a c k fa c e w i t h b l u e l i p s o n t h e fro n t , w e e p s b r o w n t e a r s . F o r t h e c o v e r to Thrust, H a n co c k ' s a n A fr o n a u t - a p i l o t o p e r a t o r l o o k i n g d i s d a i n fu l l y o u t o f t h e b u b b l e w i n d o w , a s h i s fi n g e r s p l a y t h e s y n t h e s i z e r - c o n t r o l p a n e l t h a t wi l l g u i d e h i s u fo d o w n t h r o u g h t h e purple mists and onto the mountain-top runway. The runway is Assyrian t e c h , w i th a c i t y c a r v e d i n t o t h e p l a te a u . A g i a n t m o o n , i t s m a u v e c r a t e rs l i ke p l a n e t a ry p u s t u l e s , l o o m s ove r h ea d , b l o c k i n g o u t t h e s k y .

01 [ 0 1 0 ] Crossings rev e a l s t h a t t h e w i z e n e d m e n w i t h e l o n g a t e d sku l l s , s t a n d i n g i n t h e i r w h i te r o b e s . a r e N o r t h A f r i c a n n e c r o m a n c e r s , a l i e n v i s i to r s . T h e s c e n e ' s a n a c h ro n i z e d by a b o y w i t h t h e s a m e P h a ra o n i c profi l e a s the agei ng viziers, s i tting on the edge of a wave which sweeps a c r o s s t h e b a c k s l eeve i n to t h e b l a c k s e a - d e p t h s o f t h e fro n t s l e e v e s . The n e c r o m a n ce r s a r e s t a n d i n g i n w a t e r . T h e r e ' s a b o a t p u l l i n g i n b u t t h e r e ' s n o b e a c h ; t h e j e t - b l u e w a v e s l a p o n to m o r e w a t e r i n s te a d o f a s h o r e . R e f u g e e s h u d d l e a ga i n s t t h e c oa s t w i n d . I n Yoko o ' s Agharta s l e e v e , t h e t i t l e fo r m s a p h o n o t r o n t h a t b l a s t s o f f from a c i ty fra m ed i n l u s h fo l i age a n d a r e d l i q u i d f l u x w h i c h a r c h e s o u t o f t h e s k y s c r a p e r s . O n t h e b a c k a t r a c t o r b e a m d ra w s a u fo o ut o f a c i t y a n d u p t h ro u g h a n u n d e r w a t e r s k y o f c o r a l r e e f s . Pa n < > A i i e n A s t ro < > A fr i c a n Space P r o g r a m I n t h e A g e o f A fro d e l i a. t h e j a z z c o m p o s e r b e c o m e s t h e a u d i o a l c h e m i s t . A fr o d e l i a t r i ggers a n a l te r n a t i n g c u r r e n t o f t e c h n o l ogy a n d m a g i c i n t h e S l e e v e n o t e a r t w o r k o f Y o k o o , S p r i n ge t t a n d K l a rw e i n . T h e fu t u r i s t i c a n d t h e a r c h a i c r e v e r s e p o l a r i t i e s , a n d c h a s e e a c h o t h e r d o w n i n to a n a n a c h r o n i s t i c fu t u r e p a s t . O n Mwan dishi a n d Sextan t, t h e H e r b i e H a n co c k S e p t e t t a k e o n Sw a h i l i n a m e s . H e r b i e H a n c o c k Maupin = M w i l e . D r E d d i e H e n d e rs o n Buster W i l l iams = M c h e zaj i . B i l l y H a rt = M wa n d i s h i . B e n n y Mganga. J u l ian Priester = = = Pepo. J a ba l i . T h i s d o e s n't g r o u n d t h e m o r e a r t h t h e m i n t h e i r r o o t s . I n s t e a d , i t a e r e a l i zes t h e m fo r take - o ff. a B u d d h i s t• ·Sw a h i l i s e p t e t l a u n c h e d o n t h e Pan• ·A l i e n A s t r o • · A f r i c a n - A m e r i c a n S p a c e P r o g r a m . Collapsar K l a r we i n , Yoko o a n d S p r i n ge t t e x e m p l i fy A fro d e l i a , a n a c h ro n i z i n g p a st a n d f u t u r e i n to w h a t M i l e s c a l l s Y e s t e r n o w . As S a r a h C o n n o r s a y s to Ky l e R e e c e i n The Termina tor: ' Yo u're t a l k i n g a b o u t t h i n g s I h a ve n ' t d o n e y e t , i n t h e p a s t t e n s e . ' W o r l d 4 A r t - S o u n d o p e n s u p w h a t j oe H a l d e m a n i n h i s n o v e l Th e Forever War t e r m s a c o l l a p s a r . T h e c o l l a p s a r , a s l i p p a g e i n t i m e. i s a c o l l a p s e d s t a r i n w h i c h t h e t i m e s b e t w e e n w h a t ' s to c o m e a n d w h a t h a s n ' t h a p p e n e d y e t i m p l od e a n d fo l d u p o n e a c h o t h e r . Ta p e p l a s t i c i z e s t i m e i n to m a l l e a b l e m a t e r i a l .

01 [ 0 1 1 ] A f ro < > E i e c t r i c H e n d r i x a d o p t s B o b D y l a n's A fro a n d w i res i t fo r fee d b a c k . G u n t e r K i e s e r ' s ' 6 9 The Medusa H e a d p o s t e r s h o w s H e n d r i x ' s A fr o e l e c t r i f i e d to t ra n s m i t a l te r n a t i n g c u r r e n t : ' E v e r y t h i n g i s e l e c t r i fi e d n o wa d a y s . Th a t is w h y t h e name E l e c t r i c S k y C h u r c h fl a s h e s in and out. I a m E l e c t r i c R e l i g i o n . We ' r e m a k i n g m u s i c i n to a n e w k i n d o f B i b l e , a B i b l e t h a t y o u c a n c a rry i n y o u r h e a r t s . O n e t h a t w i l l g i v e y o u a p h y s i c a l fee l i n g . ' A n d the Gods Made L o ve p s y c h ed e l i c i z e s c y b e rne t i cs b y t u r n i n g t h e g u i t a r i n t o a j e t s t r e a m e n g i n e : a go - s e c o n d s o u n d p a i n t i n g o f t h e h e a v e n s , a tone generator o f sound spectra . Chaosmos E l e c t ro n i c j a z z ' s r a p i d t ra n s i t i o n s from e x t r e m e t u r b u l e n c e t o p r o l o n g e d s t a t i c l u l l s s u g g e s t t h a t i t e x i s t s a t t h e d i s s i p a t i ve e d g e o f o r d e r ed c h a o s , m a k i n g a u d i b l e t h e c h a o t i c o r d e r b e i n g d i s c o v e r e d by B e n o i t M a n d e l b r o t . W h o e v e r c o n t ro l s t h e e ffec t s co n t r o l s t h e m e a n s o f m u t a t i o n . E ffec t s i n a u g u r a t e a n a l c h e m i c a l e r a , a s c i e n c e o f n o n l i n e a r synthes i s . E l ectric j azz i ncorporates t h e s o u n d o f reversed t a p e - the gra d u a l o m i n o u s bui l d u p , t h e a b rupt c u t - o f f a t t a c k - a s a n e w p a n i c d y n a m i c s . O r t h e t a p e s c o u l d b e r e v e r s e d i n t h e s t u d i o b y t h e e n gin e e r . W i t h Yo u 'll Kno w Wh en you G e t There from '71 ' s Mwandishi, t h e re ' s a n e w e l ec t r o n i c s o f j a gged e d g e s , s c r e a m i n g a t t a c k s a n d a p p a l l i n g p a u s e s , t h e fu t u r e p a s t o f t i m e r u n n i n g b a c k w a r d s w h i l e i t ' s p l a y i n g fo rwa r d . The P a st Fe e d s fo rwa r d i n t o t h e Fu t u r e W i t h '74's Nobu, H a n co c k i n v e n t s h i - te c h fu s i o n , Te c h n o b e fo r e t h e e ve n t t h a t o p e n s a n e w p l a te a u i n t o d a y ' s e l ec t r o n i c s . I gn o re d o n i t s r e l e a s e , Nob u c o m p e l s a s w i t c h b a c k i n t i m e a s i t s fo r g o t t e n p a s t a r r ives from the fu t u r e to s c ra m b l e t h e p r e s e n t . Nobu's s e q u e n ce s a r e t h e a u r a l p a ra l l e l o f O p A r t ' s r et i n a l r i va l ry . U n a b l e to r e s o l v e t h e O p A r t i m a g e , t h e e y e v a c i l l a te s . H e a r i n g w a v e r s a s i t s t r u g g l e s to k e e p u p w i t h t h e track's psychoaco ustic i l l u s i o n of 2 speeds that run ahead of the e l ectric p i a n o ' s b a s s r h y t h m e l o d y . I ts a rr a n g e m e n t i s w h a t P a t r i c k G l e a s o n t e r m s syn t h a r m o n i c , n o t m e l o d i c b u t r h y t h m a t i c a t t a c k v e l o c i t i e s . D r u m b e a t s a r e r e p l a c e d b y M o og t e x t u r h y t h m s . I t s p i r a l s o f f i n to a s o l o i n te r r u p t e d b y o p e n - t h ro a t e d c h o r a l c h o r d s w h i c h p u l l fo c u s , z o o m i n g o u t to t h e endless horizon of the synthetic s u b l i m e . D i s s o l v e Te c h n o ' s fa i t h i n Kra ft w e r k a s t h e fo u n d a t i o n o f t o d a y ' s

0 1 [ 0 1 2) e l ec t r o n i c s , a n d A l i e n M u s i c ' s l i n es of i n h e r i t a n c e b r e a k u p , go W i l d s ty l e. W i th t h e c o l l a p s e of K r a ftw e r k ' s c o n s e n s u a l fu t u r e , Te c h n o d o e s n ' t d i e . I t j u s t l o s e s i t s s e n s e o f i ts e l f a s t h e d e fi n i t i v e , s i n g l e d i re c t i o n o f m u s i c ' s fu t u r e . A t l a n t i c F u t u r i s m i s a l wa y s b u i l d i n g Futurhythm a c h i n e s , sensory tech n o l ogies, i nstruments w h i c h renovate p e r ce p t i o n , w h i c h s y n t h e s i z e n e w s t a t e s o f m i n d . W o r l d 4 j a zz i s a t r a n s m o l e c u l a r i z e r w h i c h f l u c t u a tes t h e s te a d y s t a tes of o r ga n i z e d s o u n d . S e e p i n g i n from t h e f u t u r e p a s t , i t fe e d s fo r w a r d i n t o t h e p r e s e n t , a n a c h r o n i z i n g e v e ry t h i n g i t r e a c h e s . A s s e m b l e d f r o m m o l e c u l a r components o f rhyth m , the Breakbeat i s an Appl ied Rhythm i c Te c h n o l ogy, a n A RT t h a t s e t s c u l t u r a l v e l o c i ty a n d c u l t u r a l i n e r t i a i n motion. By mobi l iz i n g rhythms across the com m u n ication l a ndscape, t h e R h y t h m e n g i n e c r o s s p o l l i n a te s t h e e a g e r fa n , t r a n s m a t e r i a l i z e s y o u r sensori u m through the o n o m a topoeic i l logic ca l l ed H i p H o p .

02[013) TRA N S M AT E RIALIZI N G THE BR E AKB E A T The Metamorphonic Machine is Motion-Capturing Your Nervous System: Grandmaster Flash, Knights of the Turntable The P o s s i b i l i t y S p a c e o f B r e a k b e a t S c i e n c e ' T h e d i sc o v e r y o f t h e D N A c o d e , f o r e x a m p l e , i s fo c u s i n g o n h o w y o u c a n c r e a t e d i ffe r e n t spec i e s o f b e i n g s b y sta r t i n g fro m t h e v e r y s m a l l e st p a r t i c l e s and t h e i r c o m p o n e n t s. ' K a r l h e i n z S to c k h a u se n has sa i d . 'Th a t is why we a re a l l p a r t o f the sp i r i t of the a t o m i c a g e . In m u s i c , w e do e x a c t l y the sa m e . · B y o p e n i n g t h e possi b i l i ty space o f B r e a k b e a t sc i e n c e , dj , m i x e r a n d r a p p i o n e e r G ra n d m a st e r F l a sh e x t e n d s a n d d e e p e n s thi s ' 7 1 o b se r v a t i o n . ' A ft e r I t o ok t h e tit l e [ o f Gra n d m a st e r F l a sh) I k n e w I h a d t o sta r t go i n g to a l a b o r a t o r y , so t o sp e a k. a n d i n v e n t n e w i d e a s . ' F o r F l a sh i n ' 8 1 , g o i n g to t h e l a b m e a n s a p p ro a c h i n g t h e stu d i o a s a r e s e a r c h c e n t r e fo r t h e b r e a k i n g d o w n o f t h e b e a t . I n the l a b . t h e B r e a k b e a t i s i so l a te d a n d r e p l i ca ted. to b e c o m e t h e D N A o f r h y t h m i c p syc h e d e l i a .

02 [ 014) The R h y t h m o t or T h e B r e a k b e a t i s a m o t i o n - c a p t u re d e v i c e , a d e t a c h a b l e R h y t h m e n g i n e , a m o va b l e r h y t h m o t o r t h a t g e n e r a t e s c u l t u r a l v e l o c i t y . T h e b r e a k i s a n y s h o r t c a p t u re d s o u n d w h a t s o e v e r . I n d i ffe r e n t t o t r a d i t i o n , t h i s fu n c t i o n a l i s m i g n o re s h i s t o r y , a l l ow s H i p H o p t o d a t a m i n e u n k n o w n v e i n s o f fu n k , t o g r o o v e - r o b n o t a n c e s t o r - w o r s h i p . F o r t h e fu n k t i o n a l i s t a l l t h e w o r l d i s d u b m a s t e r L e e Pe r r y ' s Tu r n t a b l e Te r r a n ova'. A s DJ S h a d ow s u gg e s t s , H i p H o p i s t h e r e fo r e not a g e n r e s o m u c h a s a n o m n i ­ gen r e , a c o n c e p t u a l a p p ro a c h t o w a r d s s o n i c o r ga n i z a t i o n r a t h e r t h a n a p a r t i c u l a r s o u n d i n i t s e l f. E n h a n c e 57: 19 I n v e s t i ga t i n g t h e b u i l d i n g b l o c k s o f t h e b e a t , G ra n d m a s t e r F l a s h c r o s s e s t h e t h r e s h o l d o f m i c r o r h yt h m : ' T h e I n c r e d i b l e B o n g o B a n d , Bongo Rock, johnny the Fox, The Bells, B o b j a m e s ' Mardi Gras. I w o u l d re a l l y l i ke " p o p p o p p o p p o p p o p p o p p o p u u u". I w o u l d l i ke b r e a k t h e s h i t d o w n t o 8th, 1 6 th notes. I t a mazed m e somet i m es . ' B o t h t h e n a m e - ' G ra n d m a s t e r F l a s h ' - a n d t h e ' 8 1 track t i t l e - The Amazing A dven tures of Grandmaster Flash on the Wh eels of Steel - a r e S o n i c F i c t i o n . T h e ' F l a s h ' p o i n t s to t h e S u p e r s o n i c S c i e n c e o f s k r a t ch a d e l i a , t h e d j a s D C C o m i c s h e r o , t h e t e r m ' G r a n d m a s ter' to l e v e l s o f s k i l l s a n d d e p t h o f i n d u c t i o n i n to t h e m a r t i a l a r t fo r m o f dj- i n g . T h e n a m e G ra n d m a s te r F l a s h b r i n gs t o g e t h e r c o m i cs a n d k u n g f u m o v i e s , s u p e r h e ro a n d S h a o l i n ' i n a m y t h i c a l b a t t l e ' . T h e n a m e i g n i t e s a n a d v e n t u r e o f c o n c e p t s , a fu s i o n o f s e n s a t i o n s t h a t c a t a l y s e s a v i r t u a l w o r l d a t w h a t D a v i d Too p ca l l s ' t h e fa n t a s y l e ve l ' . T h i s p l a n e o f fa n t a s y i s M a r s h a l l M clu h a n ' s i n d u s t r i a l fo l k l ore o f M a n g o n e s u pe r n o v a . T h e C o n c e p t e c h n i c s o f t h e Tu r n t a b l e I n m y th i fy i n g t h e d e c k s a s t h e ' W h e e l s o f S t ee l ' , F l a s h i n a u g u r a t e s t h e m a c h i n e m y t h o l ogy o f t h e t u r n t a b l e . Th i s n e w c o n c e p t u a l t e c h n o l ogy o r conceptechn ics p r e s u p p o s e s t h a t t h e d e c k s h a v e b e c o m e a s t a t e o f m i n d fo r t h e dj . A ft e r F l a s h , t h e t u r n t a b l e b e c o m e s a m a c h i n e fo r b u i l d i n g a n d m e l d i n g m i n d s t a t e s from y o u r r e c o r d c o l l e c t i o n . T h e t u r n t a b l es. t h e Tec h n i c s deck, b e c o m e a s u bj ect i v i ty e n g i n e genera t i n g a s t e r e o p h o n i c s , a h i fi c o n s c i o u s n e s s o f t h e h e a d , w h o l l y t u n e d i n a n d t u r n e d o n by t h e fou n d n o i s e o f v i n y l degen e r a t i o n t h a t h e a r s s c r a t c h e s , crac k l e , f u z z , h i s s a n d s t a t i c a s l e a d i n s t r u m e n t s . The H i p H o p fa n a t i c l i ves inside t h e 1 2 , r i d e s a c r o s s t h e s u rface of t h e s l eeve, s h r i n k s

02 [ 0 1 5 ] u n t i l t h e s a m e s i ze a s t h e s ty l u s s c o r i n g i t s revo l u ti o n s r o u n d t h e m i n d . Y o u c a n s'e e Tu r n t a b l e C o n s c i o u s n e s s i n 3 D ' R o b e r t D e l N aj a ' s • p a i n t i ng s fo r M o Wa x ' s ' 9 6 Hea dz 2 C D , w h e r e t h e t o n e a r m i s p o i s e d t o c i r c l e t h e g r o o v e s o f a fl a m i n g h e a d , h a l o e d by t h e t u r n t a b l e . T h e fl i g h t o f t h e s t y l u s l a u n c h e s t h e 1 2 o n i t s j o u r n e y t o t h e C e n tre o f t h e H e a d . B y b r e a k i n g d o w n t h e i n tro i n to 2 w o r d s , ' Y o u s a y ' , F l a s h o p e n s u p a n e w m i c r o - u n i ve r s e of s p l i t - s e c o n d s p e e c h . A d ventures d ra g s y o u i n to t h e p e r fo r m a t i v e w o r l d w h e r e s y n t a x s p l i ts i n t o ko m m a n d m o d u l e s , i n s truktion engines, actuators. Skratchadelia = Wre c k a g e M a d e R h y t h m i c W i t h F l a s h , t h e d j b e c o m e s a n i n i t i a te , i n d u c t e d i n t o a M i c r o s o n i c S c i e n c e w h i c h c o n v e r t s v o i c e s i n to n e w r h y t h m e ffe c t s - i n ' 9 3 , Breakbeat wizard Drop p i n ' Science, t h e n known a s S o n z o f a Loop d a L o o p E r a , t e r m s t h i s ' s kr a t c h a d e l i a ' . H i p H o p ' s a d m i re r s a l wa y s a p p l a u d s kr a t c h a d e l i a fo r i ts p e rc u s s i ve q u a l i t i e s . B u t t h i s i s b o t h l a zy a n d v a g u e . T o s c r a t c h i s t o evo l ve t h e t u r n ta b l es i n t o a t o n e g e n e r a t o r , a d e fa m i l i a r i ze r , a w o rd - m o l e c u l a r i z e r . S k r a t c h a d e l i a i s n ' t a r h y t h m s o m u c h a s i ts w r e c k a g e m a d e r h y t h m i c . T o c a l l i t ' p e r c u s s i v e ' i s a s fee b l e as c a l l ing the r h y t h m synthesizer a 'drum-machine', and another archetypal exa m p l e o f futureshock absorption a n d [r)earview hearing, p r o t ec t i n g y o u fro m w h a t y o u ' re h e a r i n g - w h i c h i s fre q u e n c i e s r a t h e r t h a n k i c kd r u m s , a v i o l e n c e a ga i n s t v i n y l r a t h e r t h a n r e s p e c t d u e to t h e g r e a t s , a fu r i o u s i m p a t i en c e w i t h fu n k , a s u r g i c a l exc i s i o n o f d r u m s a n d b a s s h i - t e n s i o n f r o m t ra d i t i o n . S k r a t c h a d e l i a i s r ea l l y c o n s c i e n t i o u s d e s e c r a t i o n , t h e n o i s e o f a r t e f a c t s b e i n g o b l i te r a t e d i n t o s tr e a m s o f v o c a l - v i n y l m a t t e r . S kr a t c h a d e l i a p h a se s h i ft s m u s i c i n t o a n e w p h o n o p l a s t i c a l l o y . Vo i ce s a r e m o l e c u l a r i zed i n t o c h a t t e r i n g , g i b b e r i n g t e x t u r e s , i n t o g l o b u l e s o f p i t c h t h a t g r u m b l e a n d s h i ft a l o n g t h e s pe c t r u m o f Tec h n i c s s p e e d , p h a s e d a n d p a n n e d by t h e t r a n s fo r m e r s w i t c h . Skratchadelia i s a synthetic aesthetic of painstaking abuse and sonic s a bo t a g e . O n l y f o r t h e o b l i te r a t i , t h e v i rt u o s i w h o force v i n y l [ i n l t o m a t t e r . S c r a t c h i n g d e s t r a t i f i e s v o i c e a n d v i ny l i n to n e w t e x t u r e s s t a n d i n g o n t h e b o r d e r b e t w e e n s o l i d a n d l i q u i d . I t t u r n s b e a t s i n to s o n i c m a t t e r i n fl u x . A dven tures i s t h e r e fo r e t h e o p e ra t i n g m a n u a l o f a l l s k r a t c h a d e l i a . F l a s h c u t s T h e H e l l er s 6 o s p s y ch p l o i ta t i o n a l b u m Singers, Talkers, Players, Swingers and D oers, o p e ra t i n g on i t s c h i l d r e n ' s s t o r y . T h e

02 [ 0 1 6 ] i n c i sed d i a l o g u e n e s t l e s u p t o t h e e a r i n i n t i m a te c l o s e u p . ' W h y d o n ' t you t e l l me a s tory? P l ea s e t e l l me a s tory t o o . You know I t h i n k I ' l l te l l you t h e story o f m y l i fe . I w a s b o r n , i n A n i m u s , N o r t h D a ko t a , a l o n g t i m e a g o , see . . . Wel l , i t w e n t p r e t t y m u c h l i ke t h i s , ' a t w h i c h p o i n t F l a s h g r a t e s t h e v i n y l i n to 9 h a r s h s c r a t c h e s , b l ocs o f r h y th m i c b a s s texture s h re d d e d l i ke c l a s s i fi e d docu m e n t s : ' G ra n d m a ster c u t s fa s ter. ' B a s s . ' G r a n d m a s ter. ' B a s s . ' C u t . ' B a s s . ' C u t s . . . c u t s . . . fa s t er . ' The C h i c b a s s r i ff e x p l o des between e a c h o r d e r to c u t . Connect*i*Cut T h e c u t i s a c o m m a n d , a tec h n i c a l a n d c o n ce p t u a l opera t i o n w h i c h c u t s t h e l i n es o f a s s o c i a t i o n . ' Yo u s a y o n e fo r t h e t r o u b l e ' , the o p e n i n g p h r a s e o f S p o o n i e G e e a n d The S e q u e n c e ' s ' 8 1 Mons ter jam, i s broken down to 'you say' repeated 7 t i m e s . Each t i m e t h e voice s o u n d s d i ffere n t , s l ow i n g d o w n o n t h e 4 t h , s l i g h t l y s l u r r i n g . T h e s t a m m e r o f t h e n e w . E a c h c u t m a gn i fi e s t h e w o r d s s o you h e a r i n c l o s e u p s w h i c h e x p a n d s p a c e u n t i l i t b l ows u p . The b r e a k i n te n s i fi e s t h e r h y t h m i c f l o w i t c u t s i n t o , t u r n i n g rhythm i n to a s e r i e s o f p e a k s a n d d r o p s . Therefore t h e t r a c k do es n ' t s t a r t an d deve l o p s e q u e n t i a l l y b u t i ns te a d b e g i n s over a n d over. The i n tro m u l t i p l es i n to v a r i a t i o n s o f i ts e l f . The s c r a t c h b u i l d s u p t e n s i o n , t h e s e n s e o f s t a n d i n g o n t h e v e r g e o f ge t t i n g i t o n . W h e n t h e rest o f the l i n e i s fi n a l l y p l ay e d , t h e c h o r u s d i s c h a rges i t s e l f i n s i d e y o u r h e a d i n a b o l t o f p l o s ive p h o n o - p ower. As Q u e e n ' s A n o ther One Bi tes The D us t plays o n o n e d e c k , the r u m b l i n g wheeze o f the scratch d o u b l e s u p t h e b a s s l i n e and g u i t a r fee d b a c k w h i c h b u i l d s l i ke a n a e r o p l a n e t a k i n g o ff. M u ffled s t u d i o v o i c e s c h e e r a t t h e a s c e n t u n t i l t h e t r a c k s h o c k c u t s to C h i c ' s Good Times s t r i n g s , s w i t c h i n g t e m p o s w i t h a j o l t t h a t l i g h t s up t h e n e rv o u s system . C h i c ' s o r c h e s t r a l a t t a c k i s prope l l e d a c r o s s t h e s e n s o r i u m . I n A dven tures, crowd-cheers a n t i c i pa t e y o u r a p p l a u s e , h y p e s i t s e l f every t i m e y o u p l a y i t , i n d u c i n g a powerful s e n s e o f a w e a s F l a s h d ro p s t h e n e e d l e o n t h e b e a t i n to a b u r s t o f J O S s p a c ew i n d a n d a Flash Gordon fi l m s a m p l e cut o ff to a n n o u n c e the emergence of 'The A m a z i n g A d v e n t u res o f F l a s h ! ' S kr a t c h a d e l i a rep l a ce s t h e c h o r u s w i t h t h e d r a s t i c t e m p o c h a n g e . The song becomes a perpe t u a l cross i n g o f r h y t h m i c t hre s h o l d s .

02 [ 0 1 7 ) Cut Creation B y d r o p p i n g t h e n e e d l e o n t h e v i n y l a t t h e r i g h t p o i n t , F l a s h i s o l a tes the p h r a s e a n d m a gn i fi e s t h e c o m m a n d to c u t . The cri ti c N e l s o n G e o rge i d e n t i fi e s its fu n c t i o n s as: c u t t i n g i n to s y n t a x , p u n c h - p h a s i n g each word order, c u t t i n g N i l e Rodgers ' G o o d Times b a s s r i ff u n t i l i t e x p l od e s b e t w e e n e a c h voca l s a m p l e . B a s s a n d w o r d - o r d er a c t a s a l te r n a t i n g p u n c t u a tors . A dven tures i s a m a c h i n e f o r t ra n s m i t t i n g the a d v a n c e d tech n i q ue s o f t h e c u t . ' I w a s l i ke a h u m a n s a m p l e r s o to s p e a k . A fter a b o u t three weeks o f p i c k i n g o u t t h e tracks t h a t I w a n ted t o u s e , I g o t i t d o w n w i t h i n two h o u r s . We c a l l e d t h i s c u t t i n g . In t h e s t u d i o , it took maybe fo u r shots t o get r i g h t . I f I m e s s e d u p I e r a s e d i t a n d w e n t s t r a i g h t b a c k to the beg i n n i ng . I h e a r d i t i n t h e e a r - p i ece f i r s t ; I t h o u g h t t h i s m i ght s o u n d i n teres t i n g i f I c o u l d figure o u t a way to m a k e i t s o u n d l e s s n o i s y , l e s s h a r s h , i f t h a t w a s poss i b l e . G r a n d W i z a r d Theodore, D j K o o l H e r e , G ra n d m as t e r F l a s h are h u m a n s a m p l ers w h o i s o l a t e t h e B r e a k b e a t by c u t t i n g r i g h t i n to the fu n k e n g i n e , d i s c a r d i n g The S o n g , i g n o r i n g i n te n t i o n a n d t ra d i t i o n to c a p t u re i ts m o t i o n : t h e c h a rge a n d p u l l o f t h e b e a t a n d the b a s s , the g a i t m o t o r i z e d by the d e c k ' s d i rect d r i v e . As s o o n a s c u t t i n g e m e r g e s , R h y t h m m i grates from t h e d r u m s to the Tec h n i c s , fro m t h e g r o u p to t h e dj , from t h e s t u di o to t h e bedroo m . L i m b by l i m b , t h e d r u m m e r i s t ra n s ferred to t h e m a c h i n e s . B r e a k f l o w s c a l e s across t h e g l o b e . P h a s e 1 : t h e d e c ks . P h a s e 2 : t h e r h y t h m s y n t h e s i z e r . P h a s e 3 w i l l be t h e s a m p l e r . My mind a in ' t n u t h in b u t a b i g of' collage N e w Kingdom AutoCreation The 1 2 becomes a record t h a t c u t s i ts e l f o n y o u r d e c k s , a record t h a t scratches i t s e l f a s i t p l ay s . A dven tures c a r r i e s o u t i t s c o m m a n d s by i t s e l f. As I c e T grasped on l i s t e n i n g to DJ Z i n c ' s Supersharp Sho o ter Remix: 'The record i t s e l f d o e s what t h e j u n g l e dj s do. It stops, i t rewi n d s i t s e l f. I t m a kes you s o u n d l i ke a good dj . ' W h a t B a m b a a t a a , F l a s h e t a / enjoyed about K r a ftwerk' s Trans Europe Express w a s its a u t o m o t i o n , the groove of the R h y t h m e n g i n e r u n n i n g by i ts e l f, c ro s s i n g thres h o l d s : ' Leave that s h i t a l o n e , t h a t s h i t w a s c u t t i n g i tsel f. G o s m o ke a c i ga rette o r someth i ng. '

02 ( 0 1 8 ] Activate t h e I nstruktion Engine T h e 1 2 i s n o l o n ge r a n i n e r t v i n y l d i s c . I t ' s p h a s e s h i ft e d . I t ' s b e i n g a c t i va t e d , s w i t c h e d o n . B e c a u s e t h e c o m m a n d t o c u t t h e v i n y l i s s to r e d on t h e v i n y l , t h e t r a c k i s n o w a m a c h i n e t h a t t r a n s m i ts i ns tr u c t i o n s o n h o w to p l a y i t , t ec h n i q u e s r ep l i ca t e d a n d m u l t i p l i e d b y n e w m i s t a k e s ­ h o w do y o u s c r a t c h , h o w do y o u c u t . D e c k s r u i n e d , n e e d l e s fucked , v i n y l a b u s e d . T r i g ge r i n g fl i g h t p a t h s o f d i s < > re s p e c t t h r o u g h y o u r reco r d s . W i t h t h e A dven tures 1 2 , m u s i c c r o s s e s a t h r e s h o l d , o p e n s u p a n e w Rhythmach i n e d iscon t i n u u m . Each cut/scratch scores new neural p a t hw a y s a c r o s s t h e b ra i n . T h e i n s tr u c t i o n L P s , t h e t e a c h - y o u rs e l f- F r e n c h r e c o r d s , t h e d a n ce s t e p d i s c : a ft e r A dven tures, t h e s e a r e a l l k i n a e s t h e t i c e n g i n e s w h i c h c a p t u r e y o u r m o t i o n . A dven tures i s a K i n a e s t h e t i c K o n t r o l K o m m a n d - e n g i n e te l l i n g y o u h o w t o c u t w h i l e w a r n i n g y o u n o t t o b o t h e r t ry i n g . I t s h o w s y o u a fi e l d o f t e c h n i q u es a n d t h e a p o t h eo s i s o f t h o s e t e c h n i q u e s s i m u l t a n e o u s l y . I t o p e n s and s h u t s a n e w a r t fo r m . T u r n t a b l e· C o n s c i o u s n e s s A dven tures g e n e r a t e s a t u r n t a b l e a w a r e n e s s w h i c h b e c o m e s a t u r n t a b l e c o n s c i o u s n e s s . T h e d e c k s , t h e a r m , t h e f l i g h t o f t h e s ty l u s , d r o p p i n g t h e n e e d l e ; a l l t h e s e i n e r t c o m p o n e n t s s u d d e n l y b e c o m e u s a b l e , c h a n g ea b l e , the basic components of sonic mutation. I f F l a s h i n ' 8 1 i s o b s e s s e d b y t h e c u t , t h e n P u b l i c E n e m y ' s Te r m i n a to r X i n ' 9 1 foc u s e s o n t h e e d g e o f t h e c u t . I n t h e rea l m o f S o n i c F i c t i o n , h i s r o l e i s to s h a r p e n t h e s c r a t c h i n to a c u t t i n g d e v i c e , u n t i l i t i n c i tes a n e d g e o f p a n i c . T h e d j t h e r e fo r e n o w b e c o m e s a T r a c k A t t a ck e r o n l e a d s c r a t c h , a n A s s a u l t Te c h n i c i a n w h o r e o r g a n i z es t h e s o u n d o f T r a d to n a l i t i e s . A s C h u c k D e l a b o r a t e s , t h e s c r a t c h i s a m e t a - t e c h n i q u e t h a t m a ke s n e w i n s t r u m e n ts f r o m o l d i n s t r u m e n t s : ' D o i n g Bring th e Noise, w e t r i e d to f i n d a s c r a t c h p a r t t h a t w o u l d f i t i n o n t h e l a s t v e r s e . A n d we fo u n d i t . I t' s the backward scratch o f a gui tar. · T e r r o rwr i s t s Te r m i n a t o r X s p e a k s w i t h h i s h a n d s : to s c r a t c h i s t o t h i n k w i t h v i n y l . T h e d j i s a t a c t i l i s t w h o g o e s o n a j o u rn e y o f t h e h a n d s , o p e n i n g u p a n e w f i e l d o f o bj e ct i l e t h o u g h t : f i n g e r t i p p e r c e p t i o n . T h e d i s t r i b u te d b ra i n o f t h e h a n d e m e r g e s w i t h i ts o w n p o i n t o f t o u c h , a m a n u a l m e m o r y o f t e r r o rw r i s t s a n d s c i z z o rh a n d s .

02 [ 0 1 9 ] The Medium is the Mindstate W i t h A dven tures, t h e s c r a t c h b e c o m e s a m e d i u m , a n e n v i r o n m e n t l i ke e l e c t r i c i ty. To b e c o m e p o p m e a n s to b e c o m e u b i q u i t o u s , m a k i n g p r e d e c e s s o r s i n to p r e c u r s o r s . S k r a t c h a d e l i a i s t h e m e d i u m , t h e m i n d s t a t e i n w h i c h j o h n C a g e i s F l a s h ' s p r e c u r s o r . W i t h ' 3 7 ' s Imaginary Landscape No. t, s c o r e d for m a n i p u l a te d t u r n t a b l e s , C a g e s c r a t c h e s l o n g b e fo r e t h e f i r s t t u r n t a b l i s t , 1 1 - y e a r- o l d G r a n d W i z a r d T h e o d o r e . Y e t C a g e i s not the o r i g i n a l C u t Creator - f o r t h i s w o u l d be to c o n f u s e the bana l fact o f p r i o r b i r t h w i t h p r e c e d e n c e a n d c r e a t i v e p r i o r i ty. P o p a l wa y s r e t ro a c t i v e l y rescues u n p o p f r o m t h e p r i s o n of i t s a d m i re r s : h e r e F l a s h c o m e s t o C a g e ' s a i d . S k r a t ch a d e l i a r e l e a s e s t h e a v a n t g a r d e f r o m i ts c i ta t i o n a l c e l l s by l i q u e fy i n g i t s s a n c t i o n i n g i nstitutions. Now you can hear Cage i n '37 as a lonely turnta b l i s t with no a u d i e n c e t o p l a y fo r : ' G i v e n fo u r fi l m p h o n o g r a p h s we c a n c o m p o s e a n d p e r fo r m a q u a r t e t f o r e x p l o s i ve m o t o r , w i n d , h e a r t b e a t a n d l a n d s l i d e . ' S k r a t c h a d e l i a i s b o t h a u b i q u i to u s e n v i r o n m e n t w h i c h e v e r y o n e t a ke s fo r g r a n t e d , a n d a t e c h n i q u e o f e x t r e m e v i r t u o s i t y t h a t h a r d l y a n y o n e gra s p s . The F u t u r e i s a n A c ci d e n t A u t o C a t a l y s i s i s w h e n s o u n d e m e rg e s b y i t s e l f, w h e n t h e m a ch i n e g e n e r a t e s a n e w s o u n d a u t o n o m o u s l y, w i t h o u t a h u m a n a g e n t . A m a c h i n i c l i fe f o r m e m e rg e s from t h e s a m p l e r o n i t s o w n . T h e R o l a n d T B 3 0 3 B a s s L i n e r h y t h m c o m p o s e r e n g i n ee r s i t s o w n a u d i o m a t t e r . I n ' 8 7 t h e 3 0 3 d i s c o v e r s A c i d o n i t s o w n , u s e s P h u t u r e t o r e p l i c a t e . M a r l ey M a r l d o e s n ' t d i s c o v e r h o w to s a m p l e t h e b r e a k . R a t h e r , i n ' 8 1 / 2 t h e E m u l a t o r E 1 s a m p l e r d i s c o v e r s t h i s for i t s e l f a n d t h e n u s e s M a r l ey M a r l a s a m e d i u m t h r o u g h w h i c h to r ep l i c a te b r e a k s o n s u c h p r o d u c t i o n s a s ' B s ' s Marley Marl Scra tch a n d ' 8 6 ' s Eric B i s Presiden t: ' I c o u l d t a k e a n y d r u m sound f r o m a n y o l d record , put i t i n h e r e a n d get the o l d d r u m m e r s o u n d on some s h i t . No more of that dull D M X s h i t . ' A l l t h e s e n e w s o u n d wo r l d s b e g i n as a c c i d e n t s d i s c o v e r e d b y m a c h i n e s . W i t h M a r l ey M a r l , y o u c a n fo l l ow t h i s p r o c e s s o f A u t o C a t a l y s i s very c l e a r l y. ' I w a n t e d t o s a m p l e a v o i c e f r o m o f f t h i s s o n g w i t h a n E m u l a t or a n d a c c i d e n ta l l y, a s n a re w e n t t h r o u g h . ' N e w s o u n d e m e rges a s a m a c h i n e e r r o r . I n s t e a d o f e m u l a t i n g a k n o w n s o u n d , t h e f u t u r e a rr i v e s a s a m i s t a ke r u l e d o u t b y t h e p r e s e t : ' A t f i r s t I w a s l i ke , "Th a t ' s t h e w r o n g t h i n g , " b u t t h e s n a re w a s s o u n d i n ' g oo d . I k e p t r u n n i n g t h e t r a c k b a c k a n d h i t t i n g t h e E m u l a t o r . T h e n I l oo k e d a t t h e e n g i n e e r

02 [ 0 2 0 ] a n d s a i d , " You know w h a t t h i s m e a n s ? ! " ' A l l at once there's a 'sudden m u l t i p l ication of d i mensions of matter'. Yo u r record c o l l ec t i o n b e c o m e s a n i m m e n s e t i m e m a c h i n e t h a t b u i l d s i ts e l f t h r o u g h y o u . Autocata lyser M a c h i n i c A u t o C a t a l y s i s o p e n s u p n e w vectors o f t e c h n o l ogy. Dj­ p r o d u cers l i ke to s a y t h a t M a c h i n e M u s i c c o m e s from fu c k i n g with t h e r u l e book, frea k i n g w i t h t h e fo r m u l a . N e w m u s i c g i ves -fne ffnger to the sy s t e m . H e r e you h e a r t h e w i s t f u l r e s i d u e s o f p u n k-era res i s t a n c e - fo r new s o n a r s y s t e m s don 't e m erge from m i s u s i n g t he m a c h i nes. R a t h e r t h e m a c h i n e fo rces m u s i c i n to i n h u m a n d i re c t i o n s , a n d c o m p e l s t h e h u m a n towards i n fl e x i b l e , i m p a l p a b l e p a r a m e t e r s . A c i d h e a r s t h e T B 3 0 3 ' s fre q u e n c i e s j u s t a s they a r e . I t e m u l a te s n o e x i s t i n g s o u n d , m o u r n s n o m i s s i n g s o u n d , b u t i n s t e a d s t a rts f r o m t h e b a d a n d the u n m u s i c a l . The producer fo l l ows the tra i l b l azed b y t h e error, breeds i t i n to a new s o n i c l i feform . Acid a m p l i fies these constra i n ts a s much a s pos s i b l e . j u ng l e accepts the r i g i d l y q u a n t i z i n g fu n c t i o n o f the C u b as e v i r t u a l s t u d i o . I t does n ' t revo l t a ga i n s t t h e d i g i t a l gri d ; i t o p t i m izes i t i n t o n e w poss i b i l i t i e s . Yo u r record c o l l ec t i o n now becomes a n o n g o i n g memorybank i n w h i c h e v e r y h i s to r i c a l s o u n d e x i s ts a s a poten t i a l break i n the p r e s e n t t e n s e . Chronol ogy c o l l a pses i n t o m i x o l ogy, t h e t i m e o f t h e m i x w h e r e t h e l oc a t i o n o f a bass note i n space t i m e gives way to s pa ceti m e d i s l oc a t i o n . '73 i s r e p l a ced by p l u s 5 on the t u r n t a b l e p i tch adjuster. T h e Vi n y l P h o n o m o t o r I n t h e i r ' 8 5 Fresh Mess {. . . jam your Radio], T h e K n i g h ts o f t h e Tu r n t a b l e m a k e v i n y l a p h o n o m o tor. Fresh Mess c u t s t h e warn i n g ' D o n o t a tt e m p t to a dj u s t your rad i o ' i n to c o n s o n a n t s t h a t s k i d a n d s l i d e . S y l l a b l es turn i n to p h o n o m otors which screech a r o u n d t h e t u r n t a b l e a t d i rect d r i v e v e l o c i ty. W o r d s l o s e t h e i r s e q u e n t i a l m ea n i n g a n d t u r n i n to m o r p h e m i c m o t o r s , b l ocs o f p r o p u l s i v e p l o s i o n s ta l l i n g a n d s t u t t e r i n g a t 1 2 o b p m . S y l l a b l es s p e e d a w a y f r o m t h e o r d e r o f s y n t a x , e r u p t o u t o f sk r a t c h a d e l i a , o n l y to be a m b u s h e d a ga i n . A t r i a l og u e f o r p l o s i o n , n o i s e a n d s c r a t c h . C u t t i n g d i s o r g a n i z e s s y n t a x . S c r a tc h i n g d i s a r t i c u l a tes words i n to b l oc s o f motormouthed t e x t u r hy th m . The c o m b i ned a r t s j u gg l e the b e a t a n d fl u c t u a t e t h e t e m p o i n to a r h y t h m a t i c e c h o m a z e .

02 [ 0 2 1 ) Tu r n t a b i l i z a t i o n = A u t o D e s t ru c t i o n I n s k r a t ch a d e l i a , t h e c a r c h a s e i s rescored fo r t h e d e s t a b i l ized t u r n t a b l e , a t u r n ta b i l i z a t i o n i n w h i c h t h e W h e e l s o f S t e e l a r e o v e r r i d d e n u n t i l t h e y c r a s h . E a c h s c r a t c h s l ow s d o w n , reverts i n to a s q u a l l o f l e a d g u i t a r i n t o syllables which detonate. W i t h G ra n d m a s te r F l a s h t h e c o m m a n d i s s u bj ected to t h e p r o c e s s i t d e s c r i b e s . He r e t h e req u e s t ' D o n o t a t t e mp t_��u r r a d i o ' i s s u bj ected t o t h e p r o c e s s i t w a r n s aga i n s t . T h e w a r n i n g n o t to a dj u s t h a s j u.sth e ena dj u s t e d . A u to C r e a t i o n g i v e s way to A u t o D e s t r u c t i o n . I n A d ven tures, t h e c o m m a n d to c u t v i n y l i s s tored o n t h e v i n y l , so t h a t c o n t e n t c o i n c i d e s w i t h proces s . I n Fresh Mess t h e warn i n g a ga i n s t c u t t i n g v i n y l i s c u t u p , s o t h a t c o n t e n t c a n c e l s p r o c e s s . T h e tra ck i m m o l a tes i t s e l f a s i t p l a y s , i g n i t i n g a n i n te n s e s a t i s fa c t i o n . As t h e s u b t i t l e to Fresh Mess (. . . jam your Ra dio] m a kes c l e a r, t u r n ta b i l i z a t i o n = j a m m i n g . N o t j a m m i n g i n t h e M i l e s i a n s e n s e o f t h e com b u s t i b l e R h y t h m e n g i n e , b u t i n t h e t e l e c o m m u n i c a t i n g s e n s e o f n o i s e overcom i n g s i g n a l . S k r a t c h a d e l i a b e c o m e s i n terference w h i c h breaks u p t h e t ra n s m i s s i o n , becomes a n a l i e n s i g n a l w h i c h i n h a b i t s t h e s p i r i t o f broad c a s t i n g , m a n i fests c o m m u n i c a t i o n breakdown a n d m a kes tech n i c a l d i ffi c u l t i e s a u d i b l e . S k r a tc h a d e l i a e n c r y p t s i ts t o n e s , d e m a n d i n g a l i e n l i s te n e r s t u n e d i n to t h e o p e n secret h i d d e n i n s t a t i c , r e c e i v e r s w ho c a n h e a r a new w o r l d i n i t s garbled freq u e n c i e s . Your breakdown i s their brea k u p . �'!! O r s o n We l l es to Pa r l i a m e n t to The B o m b Squad to UR, rad i o i s the . . . i ch � ;;di o i n v a d e s t h� E a r t h a n d bi=(;� d c a s t s i n v i s i b l e p a thwa y t h r o to t � � _ p l a n �! · u�-ti::�� Kidnapped by the Kinaesthetics of the Break: Mantro n ix a n d Chep Nunez Every s e c o n d o f t i m e the B r e a k b e a t takes across the 12 is b i t t e r l y res i s ted o n t h e b a t t l e fi e l d o f t h e s e n so r i u m . C l e n ched res i s ta n c e t o rhyth m i c p s y c h ed e l i a s u s u a l l y m a n i fe s t s a s a r e t u r n to m ere m u s i ca l i ty . T o fo l l ow t h e Br e a k b e a t i s to rej ec t t h i s [ r ] e a r v i e w r e s p o n s e , to l a n d o n the p l a n e t o f y o u r b o d y m a d e n e w l y a u d i b l e by rhyth m i c t r a n s v a l u a t i o n . The R h y t h m a c h i n e c a p t u re s y o u r percep t i o n a s i t s w i t c h e s from h e a r i n g i n d i v i d u a l beats to g ra s p i n g the pattern o f b e a t s . Your body i s a

02[022] d i s t r i b u t ed b ra i n w h i c h fl i p s from t h e s o u n d o f e a c h i n te n s i ty t o t h e ove r l a p p i n g r e l a t i o n s b e t w e e n i n t e n s i t i e s . L e a r n i n g p a t te r n r e c o g n i t i o n , t h i s fl i p fl o p b e t w e e n r h y t h m e l o d y a n d t e x t u r h y t h m d r a s t i c a l l y c o l l a p s e s a n d r e o r g a n i s e s t h e s e n s o r i a l h i e r a rc h y . T h e B o d y I s a La r g e B r a i n F o r t h e 9 0 s r h y t h m a t i c i a n , t h e b o d y i s a l a rge b ra i n t h a t t h i n ks a n d fee l s a s e n s a t i o n a l m a t h e m a t i cs t h ro u g h o u t t h e e n t i re s u r f a c e o f i t s d i s t r i b u te d m i n d . T h e B r e a k b e a t d r i v e s n e w p a t h w a y s t h ro u g h t h e b ra i n . Aggres s i v e l y u n p i tc h e d , i t b l o c k s e m p a t h y w h i l e fi s s u r i n g n e w s y n a p s e s t h r o u g h t h e m a t t e r o f t h e m i n d . A s i t f i r e s a c r o s s t h e s y n a p t i c j u n c t i o n , t h e s e n so r i a l fl i n c h i s t r a n s l a te d b a ckwa r d s , r e i n ve s t e d i n t h e a g e - o l d v a l u es o f r e fi n e m e n t a n d s e n s i b i l i ty . T o t h e r e a r , m a r c h ! T h e c o n n o i s s e u r ra l l i e s t o t h e g e r o n t o c r a c y o f m u s i c i a n s h i p , s w e a r s a n o a t h t o q u a l i ty , m a k e s a b r a v e s t a n d fo r o r i g i n a l i t y, a l l t h e i d e a l s d i s a p p e a r i n g fa s t i n a p o p w o r l d l o n g s i n c e s h o t t o p i e c e s . I n s t i n c t i v e s h u d d e rs a t r h y t h m a re e l ev a t e d i n t o an e t h i c a l s t a n d a rd for s o u n d , r e f i n e d i n t o p r o p e r Tech n o f o r t r u e p e o p l e . W h e n m u s i c i s p r a i s e d a s r ea l , p u re , p r o p e r a n d t r u e , t h e n i t ' s t o o l a t e : d e c a y h a s s e t i n a n d t h e m a gg o t s a r e n ' t fa r o ff. R e t u r n i n g to t h e va l u e s of m u s i ca l i ty a l wa y s r e s t s o n t h e d e p e n d a b l e v i r t u e s o f h a r m o n y a n d d i ffic u l ty, w h i c h a r e r a i s e d t o m o r a l p r i n c i p l e s . A b s t r a c t b e a t z , m a t h rock, i n te l l i g e n t Tec h n o , p r o p e r D r u m ' n ' Ba s s , t h e s e c l ever g e n r e s fo r s t u p i d p eo p l e r e s u r r e c t t h e p r e m o d e r n o p p o s i t i o n i n w h i c h t h e m i n d i s b i z a r r e l y s u p e r i o r to t h e b o d y . B y frustra t i n g t h e fu n k a n d i m pe d i n g t h e groove, c l e v e r m u s i c a m p u t a t e s t h e d i s t r i b u t e d m i n d , l ocks y o u b a c k i n t h e p r i s o n h o u s e o f y o u r h e a d . Fa r fro m b e i n g f u t u r i s t i c , c e r e b r a l m u s i c t h e r e fo r e reta r d s y o u b y r e i m p o s i n g a p r e i n d u s t r i a l sensory h i erarchy that shut u p your senses i n a Cartes ian prison. B re a k b e a t C o n s c i o u s n e s s B e c o m i n g b e a t e d u c a t e d t a k e s fa r m o r e e ffo r t t h a n b e c o m i n g a c l a s s i c a l c o m p o s e r, b e c a u s e y o u ' r e go i n g a ga i n s t t h e n a t u r e i n c u l c a t ed i n t o y o u by a n o l d w o r l d a u d i o o r d e r . I t d e m a n d s a B r e a k b e a t c o n s c i o u s n e s s t h a t t u r n s y o u i n to a r h y t h m a t i c i a n , a s p e c i a l i s t i n k i n a e s t h e s i a . The kinaesthete overrides that pre-modern b i n a ry t h a t insists the dancefloor i s all m i n d l ess bodies and the bedroom nothing b u t bod i l ess m i n d s .

02 [ 0 2 3 ] M a n + E l e ct r o n i c s = M a ntronix A s b e a t s e x p a n d a c r o s s t h e t r a c k , T h e S o n g d i s a p p e a rs fo rever i n a p o l y r h y t h m o d y n a m i c s o f t e n s e p r e s e n t s a n d p r e s s u re d ro p s . W i t h M a n t r o n i x ' s 1 9 8 8 Kings o f th e Bea ts, r h y t h m b e c o m e s t h e r m o d y n a m i c ; i n te n s i t i e s a n d p r e s s u r e s , d r o p s a nd ri s e s , s t a l l s a n d s t u t t ers , p e a k s a nd p l a te a u s . King of th e Bea ts i m p o s e s a s t a t e o f i n e r t i a fro m t h e s t a r t . B e a t s d ra g , p r e s s d o w n o n t h e s h o u l d e r s , t u g a t t h e a r m p i t s , t h e n s e e p a c r o s s t h e b a c k a s s i re n s l o o p i n to h i g h freq u e n c y s w a r m s . E d i t o r C h i p N u n e z m i cr os p l i c es t a p e o f T h e W i n s t o n s ' A m en Bro ther b r e a k i n t o a p o l y r h y t h m i c a r r a n g e m e n t o f l o o p e d l o o p s . T h e e ffect o s c i l l a t es b e t w e e n t h e i m p e d i m e n t a ! a n d t h e i m p e l l a n t , v e e r s from d r u m s t a te s o f a n t i c i p a t o ry i n h i b i t i o n to p e n t - u p p ro p u l s i o n a n d b a c k a ga i n . N u n e z ' s a n d p r o d u c e r K u r t i s M a n t r o n i k ' s Tokyo Tow e r o f p e r c u s s a p e l l a a l t e r s t h e d e n s i ty o f t h e d i s t r i b u t e d b o d y . King o f the Bea ts t a t t o o s y o u w i t h i t s g r o o v e s , i m p r e s s e s t h e g r av i ty o f r h y t h m i c t h o u g h t o n y o u . E a c h cyc l e s ta l l s t h e b o d y i n a t h ro t t l ed te n s i o n p u n c t u a te d b y h o r n s t h a t p u n c h p h a s e l i ke t h e b r a s s c o n s t r u c t i o n s o f t h e j B s . T h e Th e r m o d y n a m i c s o f C o n u n d r u m s L o o p 2 o f King o f the Bea ts d o u b l es rh y t h m s s o t h e t e m p o w r o n g fo o t s y o u . R o a r i n g c y m b a l - ru s h m a i n t a i n s a n t i c i p a t i o n w i t h o u t r e l e a s e , s t o k i n g t h e p r e s s u r e . T h e s i n g l e s n a r e o f L o o p 3 h i t s l i ke s o m e o n e k n o c k i n g o n a d o o r , b u i l d s t h e s e n s e o f b e i n g t r a p p e d i n s i d e a ro o m . S p e d u p , t h e t e m p o b e c o m e s t h e h o o k , a ro l l i n g p l a i n o f p o l y r h y t h m t h a t l i fts t h e l i m b s , b r i n g s o n a h i - t e n s i o n . L i k ew i s e , i n E r i c B a n d R a k i m ' s ' 8 7 You Kno w You G o t Soul, t h e b e a t b e fo r e t h e c h o r u s a c c e l e r a t e s 7 t i m e s fa s t e r t h a n u s u a l , u n t i l r h y t h m t u m b l es i n a s t a m p e d e t h r o u g h y o u r b i g b r a i n . T h e b e a t s u i t e s u b s t i t u tes m o l e c u l a r c h a n g e s for c h o r u s e s , p r e s s u r e d r o p s fo r h o o k s , c o n v e rt i n g T h e S o n g i n t o a v a l l ey o f i n t e n s i t i e s . W h e n 2 b e a t s c o n v e rge a n d t h e r h y t h m s ro l l a ga i n s t e a c h o t h e r , t h e d o u b l e impact c a u s e s a wavecras h of k i c k s and a c c e n t s . Loop i s metronom i c b e a t p l a y s o v e r a ra d i o s a m p l e a n d a d r u m ro l l fa n fa r e , a s l i p s t r e a m o f t e x t u r h y t h m i c p o l y co l l i s i o n . T h e i n d e c i p h e ra b l e g o l e m g a r g l e i n M a n tr o n i x ' s Ele c tronic Energy Of... , t h e s o u n d of a d a l e k i n t ra c t i o n , b o u n c e s b a c k o f f a l o o p e d fa n fa r e i n a c o n t r a r h y t h m f l o w . ' M a rs n e ed s ' , t h e r a d i o s a m p l e u s e d i n L esson J, D o u b l e Dee and S t e i n s k i ' s '84 s h o r t - a t t e n t i o n - s p a n p a u s e b u t t o n - ed i t e p i c , r e p e a t s 3 t i m e s . I t ' s a n s w e r e d b y Electronic Energy O f . ' s . . compressed robovoca l i z a t i o n .

02[024] lo o p i n g t h e b r e a k t r i c k s t h e e a r i n to h e a r i n g a c o n t i n u o u s b e a t . E a ch cyc l e s l i ps o u t o f m e m o r y a s i f t h e body r e fu s e s to rea l i ze t h a t i t ' s h e a r i n g t h e s a m e b e a t every t i m e . E a c h l o o p tra i n s the o b s t i n a t e b o dy u n t i l i t recog n izes i ts e n d p o i n t . B o d i es sta rts to r em em b er t h e p o i n t w h e n t h e b e a t l o o p s b a c k o n i t s e l f. T h e re ' s a psychoaco u s t i c s o f r h y t h m : the b i g b ra i n a n t i c i p a tes t h e cyc l e , g e t s i n to the g r o o v e , l i ves i n s i d e the t e n s e p r e s e n t o f t h e l o o p . The B r e a k b e a t b e c o m e s a m n e m o n i c . A s y o u ' r e a m b u s h e d by bea t s , c h a r g i n g b r e a k s d o c k a t y o u r j o i n t s , t u g a t t h e m u s c l e s o f y o u r m i n d . Trea c h e r o u s u n d e r fo o t , t h e y b u i l d a new p s y c h o m o t o r from t h e o l d y o u .

03[025 ] SA M P LA D E LI A O F TH E B R E A K B E AT Inte n s ify th e P h o n otro n : Ultra m a g n etic MCs In ' 8 8 , with U l tra m a g n e t i c M C s ' d e b u t a l b u m Cri tica l Bea tdo wn, H i p H o p becomes c o m p u te r m u s i c . U l t r a m a g n e t i c M C s - p r o d u c e r - r a p p e r C e d G e e , r a p p e r T R l o v e , d j M o e l o v e , conceptec h n i c i a n a n d voca l i s t K o o l K e i t h - i n i t i a t e a cosmogeny o f s a m p l a d e l i a , a m y t h o l ogy o f t h e s a m p l e r . Tra cks b e c o m e S o n i c F i c t i o n s , s o n a r s y s t e m s t h r o u g h w h i c h a u d i o s h i ps trave l s at t h e speed o f t h o u g h t . U l tra m a g n e t i c M C s are o b s e s s e d w i t h the f i e l d o f fo rce t h a t tec h n o l ogy i g n i tes i n u s , w i t h t h e u n s t a b l e w o r l d o f cosmo p h o n i c fo rces r e l e a s e d by t h e s a m p l er, the e l ectrom a g n e t i c wavefo r m s a c c e s s e d t h r o u g h s a m p l a d e l i c o p e r a t i o n s . T�-�-l!.\!!!liiD organism i s !hi n g a p a r � The S o ngJs ..in.LJJiO..� . S a m p l i n g h a s cracked t h e l a nguage i n t o p h o n e m e s . I t b r e a k s t h e m o r p h e m e i n to rhyt h m o l ec u l e s . O n l y s c i e n c e c a n r i d e t h e s h ockwaves i t h a s i n s t i g a t e d . O n Brainiac, t h e U l t ra m a g n e t i c p r o d u c e r b e c o m e s the Breakbeat Scientist, ' b u i l d i n g m o l ec u l e s o n m y S P 1 2 . '

03 [ 0 2 6 ] We 're o p e n i n g t h e m a g n e tic fie l d Ultramagnetic HCs The F a l l o u t from P h o n e m e s M C s ' Ultra [Part II] a n n o u n c e s t h e U l t r a m a g n e t i c w o r l d o f m o l ec u l a r h y t h m . S a m p l a d e l i a s p l i t s s y n t a x i n t o p h o n o p a rt i c l e s . I t r e l e a s e s v e r b i v o c o o bj e c t i l e s , c o n s o n a n t s w h i c h f i r e a t 4 5 revo l u t i o n s p e r m i n u t e u n t i l ' t h e a u d i tory c a n a l s are b u r n i n g , wh i l e t h e Te c h n i c s keeps t u r n i n g , a t a d o m i n a n t s p e e d . ' K o o l K e i t h ' s i n s i s t e n t s t r e s s on fi n a l a n d f i r s t w o r d s f r u s t r a t e s t h e f l o w , t u r n i n g d e l ivery i n to a z i gz a g o f s t a c c a t o i n g s y n t a x t h a t fu n c t i o n s by ' e l ev a t i n g a p h y s i c a l source t h r o u g h p a rt i c l e s ' . The M a g n etic M u ta t i o n of the MC T h e U l t r a s s a m p l e i s a d o o r o p e n i n g o n t o k i d s p l a y i n g f a r o ff, p i a n o s l o o p i n g u n t i l n o t e s l o s e p r o fi l e , d i s s o l v e i n t o a t i m b r a l te n s i o n w i t h o u t r e l e a s e , Star Trek t h e m e p u l s a t i o n s s y n t h e s i z i n g t h e h u m a n i n to a S o n o C y b o r g . M o r p h e m i c r a d i a t i o n m u t a tes t h e M C , g r a n t i n g n e w p o w e r s o f ' u l t r a p o w e r f l ow i n g ' . A l l t h e s e e l em e n t s o f t h e s a m p l a d e l i c w o r l d coa l es c e i n a n U l t r a m a g n e t i c fo r c e fi e l d , c o n v e rg i n g u n t i l t h e y ' r o u g h l y e m erge a s a s o u l m e c h a n i s m . ' The Hypoa t o m i c U n iverse H y p o a t o m i c e n e rgy i rr a d i a te s t h e S o n g w i t h s o u l s o n i c fo r c e , a d a p t i n g t h e s c i e n t i s t i n t o a soul mecha. E n te r i n g t h e p h o n o p h y s i c a l u n i ve r s e s h a t t e r s • • s c a t t e r s t h e m i n d . I n Sm oking Dus t, ' i n h a b i ta n t s d i s a p p e a r t h r o u g h ' K o o l K e i t h ' s b r a i n , p r o v o k i n g a p s y c h i c b l a s t t h a t l e aves h i m wondering 'What seems t o be t h e problem, What's wrong with my m ind?' T h e P s y b o r g i s s w a l l ow e d u p b y t h e k i n e t i c e n e rgy w h i c h c r e a t e s i t , o v e r c o m e by ' w i r e s l e a k i n g w i t h e n e r g y ' . H o s Q_iJ:9lirecla� K e i t h u s e s H i p H o p to orga n i z e h i s ' d � l jr.iQ IJ-2 i n s a n e ' c o n d i t i o n , ' J a ss:e. m}li nia � �0 n 0 F i c t i 0 n or l ti!tl I t r a t r a c k S� l!: ��- t. ' ' a m p l i fi e s t h i s s h o ck'wave : b r o a d�a s t s i t i n m a d s q u e a l i ng s y n t h s ­ -;�! iQ!l?: irY.J rad i oactive drones s w i t c h i n g i nto crackl e s . I I s a C r owd I n s t e a d o f p u t t i n g the s c i e n t i f i c s e l f back t o ge t h e r o r m e n d i n g t h e b r o k e n fra g m e n t s o f t h e c y b e r n e t i c p s y c h e , K o o l K e i t h h e i g h t e n s w h a t u s e d t o b e ca l l e d s c h i z o p h re n i a , i n te n s i fi e s t h e c r a c k u p a n d t h e b r e a k d ow n . T h e s e l f d o e s n ' t s p l i t u p o r m u l t i p l y i n to h e t e ro n y m s .

03[027] R a t h e r, t h e s e l f n o l o n g e r a m p u ta t e s i t s e l f d o w n t o a s i n g l e p a r t b u t i n s te a d a s s er t s t h a t I i s a c r o w d , t h a t t h e h u m a n i s a p o p u l a t i o n o f p r o c e s s e s . M u l t i p l e p e r s o n a l i ty i s n o s y n d r o m e o r d i s o r d e r b u t a r e l a x a t i o n , a g i v i n g i n t o r a t h e r t h a n a f i g h t i n g a g a i n s t t h e b ra i n as a socie ty o f m i n d . T h e bra i n i s a society o f m i n d with no one drivi ng. T h e h e a d i s n ' t the Kommand Kontrol Centre o f the body. There i s n o one proces s i n g a g e n c y , i n te l l i g e n c e i s n ' t c e n t r a l a n d e v e r y o n e h e a r s v o i c e s t a l k i n g i n t h e i r h e a d s a l l t h e t i m e . K o o l K e i t h ' s various heteronyms - Rhythm X , F u n k I gn i te r P l u s , X - C a l i b u r - a r e a g e n t s , s y s te m a t i c a l l y fi c t i o n a l i z e d from t h e fl u x t h a t w e a l l f l o a t i n . W h a t u s e d t o b e c a l l e d a l t e r e g o s a r e n o w mul ti-egos, a ��5>.�.2 .,2-L�X.!:!!.h .. �t.!� .� �-�L:.� ts . .. HipHop Is a n Analogy Engine H i p H o p b e g i n s a s a n a n a l o g y e n g i n e , i n w h i c h t h e I i s l i ke = l i ke = etc. Th i s p h o n o e x t e n s i o n i s w h y H i p H o p t a k e s o v e r s p a c e i n y o u r h e a d . Powered b y a n a l og i c a l c h a i n s , i ts s y n t a c t i c p r o s t h e t i c s o c c u p y y o u r b ra i n , t a k e u p y o u r m i n d . For Kool Keith. �s . t o b e s o l d e r e d t o g e t h e r i nt o U n kn o w n A ud i o O bj e c t s . R o a m i n g o v e r t h e w r e c k a g e o f s o n g s , t h e s c i e n t i s t a s s e m b l e s P h o n o F i c t i o n a l e n g i n e s fro m ' h yp o t h e t i c a l b a s i c mechanisms'. I n MCs' Ultra [Part II], t h e p h o n o e n g i n e fu n c t i o n s ' l i ke a C o m m od o r e c o m p u te r ' b y ' i n d u c i n g m.e a n i n g t o i t s l i m i t . ' A in ' t I t G o o d t o Yo u d i a g r a m s t h e h y d ra u l i c s o f t h e U l tra s o n o m a c h i n e i n i ts h a z a r d o u s j o u r n e y a c ro s s t h e h e a d . P h o n o p o w e r f l o w ( e r ) s t h r o u g h t h e n e u r o c i r c u i t s a l ong 'rhymes i n my tank', through 'brains pumping gaso l i n e ' , igniting t h e ' m et e r a n d g a u g e s ' t h a t c r a n k o u t n e w ' l yr i c a l e n g i n e s ' . T h e U l t ra m a g n e t i c l y r i c a l e n g i n e o p e r a t e s b y ' c o m b i n a t i n g e l e m e n t s ' , c o n n e c t i n g a s u ff i x t o a p r e fi x , u s i n g t h e s e m a c h i n e p a r t s o f ' v o c a b ' t o ' c o n n e c t t h e a b u l a ry ' , t h e n ' s w i t c h i t ' . T h e c o s m o p h o n i c e n g i n e i s d r i v e n b y n e o l o g i s m s , b y t e r m s l i ke Cri tical Bea tdo wn ' s ' e x q u i s i t i v e ' , w h i c h j o i n s e xq u i s i te to i n q u i s i t i v e . Brainia c' s s y n t a c t i c - a b u l a ry m a c h i n e s p a rks n e w s y n a p t i c j u n c t i o n s , n e w p a t h w a y s f o r ' fu e l ' t o ' i g n i t e b l oo d p r e s s u r e a b o v e t h e b ra i n l e ve l . ' T h e a r c h e ty p a l U l t ra m a g n e t i c M C t r a c k h a s a s p a c e s h i p d r o n e r u n n i n g t h r o u g h i t , t h e r a d i o a c t i ve h u m o f a p o w e r d r i v e w h i c h t r a n s p o r t s y o u o n to t h e fl i g h t d e c k o f t h e N o s t r o m o . Bring I t D o wn to Earth t y p i ca l l y s w i tc h e s t e m p o , l i ke p o w e r b e i n g t h r o w n so t h a t t h e

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03 [ 0 2 9 ) Autobots and Cybotrons B y adva n c i n g ' tec h n i c a l , H i p H o p co m p l e x i fi e s i ts e l f, ' c h a r g i n g e n e rgy at a l eve l ' , becom i n g an i n tens i fied phonotro n powered by u l tramagnetic current. In Brainiac, t h i s power i s ha rnessed i nto new cyborg systems w h i c h fu nction by ' boosting crysta l l o i d s a s a n a u tobot, i n creas i n g bra i n l i m i ts fa r beyo n d s p a ce . ' T h e a u tobot i s t h e automatic robot, t h e d u m b out­ of-control pathfinder which e x p l ores v i r a l zones, nuked-out was t e l a n d s , i n tes t i n a l ca n a l s a n d the pavi l i ons of j u p i ter. I t a l l ows new weapon syste m s , such a s the ' cybotron, completely on a m i ss i o n to a n n i h i l a te . ' H i p H o p ' s s o n i c cyborg e l ec t r o c u t e s , w h i l e E l e ctro ' s Cybotron t e c h n o f i e s t h e b i o s p h e r e , T h e U l tra cybotron i s t he t r i g ge r i n g m e c h a n i s m fo r t h e e x h i l a r a t i o n o f a n n i h i l a t i o n : ' M eg a b o m b i gn i t e . ' A s s e m b l e th e Crypto g r a m matro n : R a m m ellzee Wh a t is a n e n g in e e r a n d s p e cialis t o n q u a n t u m p hysics d o i n g i n rap ? Rammellze e : I ' m a ve ry s o ci a l cre a t u r e Nafu Halaza: Sc i e n ce P u t s o u t t h e Su n To d r o p s c i e n c e i s to mys t i fy, r a t h e r t h a n to e d u c a t e . I n H i p H o p , s c i e n c e breaks i t d o wn i n o r d e r to co m p l e x i fy n o t t o c l a r i fy . F o r a u d i t i o n a r i e s s u c h a s R a m m e l l ze e , R a k i m , T h e R Z A a n d K i l l a h P r i e s t , s c i e n ce i s t h e e n d o f e d u t a i n m e n t a n d t h e system a t i c m y t h i fi c a t i o n o f e v e r y d a y l i fe . I n s t e a d o f tea c h i n g s t r e e t k n o w l e d g e , s c i e n c e s t e a l s ' y o u r c o m m o n a n d robs your s e n s e ' , a s W u Ta n g C l a n p r o t e g e s S u n z o f M a n d e s c r i b e i t . Rather than g i v i n g y o u t h e r e a l dea l or c l e a r i n g a w a y centuries o f m i s e d u ca t i o n , s c i e n c e e x a c e r b a t e s t h e fog o f t h e m i n d a n d h e i g h te n s t h e h e r m e t i c . I ts d r i v e i s to e x p a n d t h e l i m i ts o f V i r i l i o ' s u n kn o w n : ' S c i e nce a n d tec h n o l ogy d e v e l o p t h e u n kn o w n , n o t k n o w l edge. S c i ence devel o ps what i s not rationa l . That's what fiction i s . ' S c i e n c e a c t i v e l y derea l i zes the s o l i d gro u n d o f t h e s treet, corrodes the rare essence o f s o u l , s u c k s you i n through t h e s t u d i o u n t i l you ' re s l i p p i n g t h r o u g h t h e p a v e m e n t i n to i n n e r s p a c e . S c i ence a c t i v e l y c l o a k s every t h i n g , j u s t l i ke S u n R a , w h o a l ways v e i l s h i s a n swer s : ' A s tro Black i s a b o u t - o h , s o m e t h i n g t h a t ' s grea ter t h a n t h e t r u t h . S o i t ' s o v e r i n m y th

03[030] i t ' s h i d d en . ' Science i s t o H i pHop as M y t h S c i ence i s to S u n R a . Science u n ra v e l s t h e w o r l d i n to e n d l e s s a l l eg o r i e s , e c l i p s i n g c o n s e n s u a l o r d e r i n a n overwh e l m i n g o p a c i ty o f o v e r l a p p i n g d i r e c t i v e s . S c i e n c e d o e s n ' t i n s tr u c t , i t i n d u c t s y o u i n to s e c r e t s t a te s o f i n n e rv i s i o n , i n i t i a t e s u s e l e s s q u e s t s for t h e 3 r d E y e , s p r e a d s a d a z e o f c o n fu s i o n o n l y o cc l u d e d b y t h e p o w e r s o f t h e I n n e r M i n d ' s E y e . S c i e n c e t u r n s v i n y l i n t o a m a s s m e d i u m fo r c h a n n e l l i n g i n fo r m a t i o n m y s t e r i e s , p r i v a t e M y t h S y s t e m s , fra g m e n t s f r o m e n d l e s s i n fo v e r s e s . S c i e n c e t a k e s a d v a n t a g e o f v i n y l ' s r e p l a y a b i l i ty b y t u r n i n g l i s t e n i n g i n to a fu l l - t i m e j o b . S c i e n c e w a n t s y o u f o r a n a c o l y t e , w a n t s to i n i t i a t e y o u i n t o a h e r m e n e u t i c s w h i c h e l i d e s rea l i t y. Sci e n ce R a z e s C o n s c i o u s n e s s S c i e n c e r a z e s c o n s c i o u s n e s s : R a m m e l l ze e , K i l l a h P r i e s t a r e e s o t e r ro r i s t s w h o u s e t h e 1 2 to d ro p m y t h i l l og i c a l s y s t e m s t h a t a c t i v e l y terro r i z e . To t e r ro r i z e i s to t e r r a to r i a l i z e . Te r r o r razes c o n s c i o u s n e s s by d e s t r o y i n g the o l d grooves o f the h e a d . The d e c k s b e c o m e what L e e P e r r y t e r m s the ' Tu r n t a b l e Te rra n o va ' . A N e w E a r t h e m e rges f r o m t h e n e w g r o o v e s o f t h e n e w l y s c o r e d m i n d . O v e r t h e c o s m o - d yn a m i c s a n d p r o t o -j u n g l e b r e a k s o f ' 8 7 ' s Follo w the L ea der D u b , R a k i m i s s u e s a g r a v e d i kt a t : ' I ' m h e r e t o r e m a k e t h e b r a i n s , t a k e a w a y t h e p a i n . · S c i e n c e s c o r c h e s t h e o l d b ra i n t o m a n u fa c t u r e a new m i n d . Gra ffi t i is n o t van d a l i s m b u t a v e ry b e a u tiful crim e Bon do G r a f f i t i I s a F u t u re -Wri t i n g M a c h i n e A ft e r s u r - re a l i z i n g s l a n g u a ge i n t o t h e t w i l i g h t k i n g d o m o f d o u b l e - d u t c h r e m a n i p u l a t i o n o n t h e Bea t Bop 1 2 , R a m m e l l ze e b e g i n s t o a n a l y s e t h e fo r m a l i m p l i c a t i o n s o f H i p H o p , a n d i m m e d i a t e l y rea l i z e s t h a t G ra ff i t i c o n s t i t u t e s a fu t u r e - w r i t i n g m a c h i n e : ' G ra ff i t i i s a w o r d t h a t s o c i e t y p l a ce d on a bs t r a c t te c h n i q u e , i c o n i c s t a t e m e n t . P e o p l e d i d n o t u n d e r s ta n d . · Fab 5 F r e d d y r e d e f i n e s G ra f f i t i a s C a l l i gr a f fi t i , j u s t o n e n a m e a m o n g m a n y : l co n og r a f i x , A e r o g l y p h i c s a n d A e ro s o u l A r t a l l p r e s u m e a n e x t e n s i v e t ra i n i n g i n e x c l u s i v e s y m b o l s y s te m s . A e r o g l y p h i cs i s m a i ntained by a n electribe o f youths bonded together through s k i l l s , c a b a l i z e d by t h e tec h n i c s o f v i s i o n .

03 [ 0 3 1 ) Wild-s tyl e r e t u r n s c o m m u n i c a t i o n t o p r i e s t l y e l i te s w h o t ra n s m i t b a ffl i n g c o d e s t h r o u g h o u t t h e c i ty . Fa b 5 F r e d d y s tr e s s e s t h a t ' W i l d s ty l e i s t o ta l l y i l l eg i b l e u n l e s s y o u ' re i n i t i a te d . ' T h e c i ty wa l l s t u r n i n t o s e c r e t c h a n n e l s . T h e c i ty t r a i n s b e c o m e g a l l e r i e s w i t h o u t w a l l s fo r t h e cyp h e r t r i b e s . T h e p i c to g r a m i n v o l ve s t h e s e n s e s i n M c l u h a n ' s ' b a l l e t o f p o s t u re s o f t h e m i n d . ' W i l d s t y l e e x e r c i s e s t h e s e n s e s , p u ts t h e e y e s a n d e a r s t h r o u g h a n E s c h e r i ze d a s s a u l t c o u r s e . F o r B a n d o , t h e l e t t e r o p e n s u p a n e w p o s s i b i l i t y s p a c e : ' I m a k e l e t te r s b e c a u s e z 6 l e t te r s i s e n o u g h t o d e f i n e every s i n g l e t h i n g t h a t e x i s ts i n t h i s w o r l d . ' The F o rm a l O pe r a t i o n s o f H i p H o p W i l d s t y l e i s j u s t o n e e l e m e n t i n a H i p H o p n o w u n d e rs to o d a s a s e r i e s o f t ec h n i q u e s , a n e c o l ogy o f m e d i a w h i c h t o g e t h e r c o n s t i t u te s a k i n a e s t h e t i c Wa r M a c h i n e . H i p H o p h a s h i t h e r t o b e e n u n d e r s t o o d n a i v e l y i n t e r m s o f i t s c o n t e n t , o f w h a t s o ftwa re e n g i n e e r s c a l l t h e fro n t e n d o f m e s s a g e , l y ri c s , o u t p u t . I n t h e /konokla s t Panzerism Manifesto, R a m m e l l ze e c r o s s e s a new t h r es h o l d of m a c h i n e e vo l u t i o n b y e l a bo r a t i n g t h e for m a l l o g i c o f H i p H o p , i t s b a c k e n d , i t s a b s t r a c t o p e ra t i o n s : ' Y o u h a v e t h e g l a d i a t o r s , t h e fre e s t y l e d a n ce r s , w a r r i n g o n t h e gro u n d , y o u h a v e t h e g r a ffi t i w r i t e r s w a r r i n g i n t h e a i r o r i n s p a c e . Y o u h a v e t h e t ra n s l a to r s , t h e Dj s , t h e M C s . The Dj s m a k e t h e s o u n d s o f t h e p i s to n i n s i d e t h e g r a ffi t i e l e m e n t o r t h e t a n k . ' F o r R a m m e l l z e e , g r a ffi t i i s t o m o r r o w ' s w r i t i n g m a c h i n e - ' t h e gra ffi t i e l e m e n t o r t h e t a n k ' - w h i c h c a n e n te r i n to t h e c e n t u r i e s - o l d w a r o f a r m o u re d s i g n - s y s te m s . T h e d j i s t h e p h o n o m o to r : 'Th e i r s o u n d i s t h e p e r fe c t t u n i n g o f t h e e n g i n e s , t h e e n g i n e s i n t h e t a n k t h a t g o b a m b a m ba m . T h a t i s b e a t c u l t u r e . ' T h e lkonok/ast Panzerism Manifesto o p e n s u p t h e c o n c e p t ec h n i c s o f H i p H o p . To o p e n u p a c o n c e p t e c h n i c s i s to e l a bo r a t e t h e c o n c e p t u a l t e c h n o l o g y o f a n e w s o u n d , t h e a b s t r a c t m a c h i n e w h i c h d r i v es a n e w M a c h i n e M u s i c . E x p e r t i s e i s e n c o d e d o n t h e m i c r o c h i p . V i rt u o s i t y h a s m i gr a t e d t o t h e s o u n d m a c h i n e s w h i c h c o n t a i n a l l m u s i c a s p r e s e t s , s o u n d c a r d s a n d s o u n d fi l e s . B l a c k M u s i c i s i n t h e m a c h i n e s . T h e r e fo r e a n a pp r o a c h t o t h e m a c h i n e a n d to m a c h i n e t h o u g h t o b s o l es c e s p r e m a c h i n i c i d e n t i t y . E v e ry s a m p l e r a n d e v e r y s o ft w a r e s e q u e n c i n g p a c ka g e i s ' a c o n s te l l a t i o n o f s y s t e m s a n d s u b s y s te m s ' t h r o u g h w h i c h t h e p r o d u c e r n a v i g a t e s . A p o s s i b i l i t y s p a c e t h e r e fo r e e m e rg e s from r e s t r i c t i o n , t h e m o t h e r o f i n ve n t i o n i n H o l ge r C z u k a y ' s e q u a t i o n . C o n c e p t e c h n i c s f l u c t u a t e s b e t w e e n c o n s t r a i n t a s a fu n c t i o n o f

03 [ 0 3 2 ] t h e i n s t r u m e n t ' s poten t i a l a n d a s a fu n c t i o n o f t h e p r o d u c e r ' s m i n d . M i l i t a r i z i n g B e a t C u l t u re A b s t ra c t i n g H i p H o p i n to a s e r i e s o f fo r m a l o p e ra t i o n s i s t h e f i r s t s t a g e i n R a m m e l l ze e ' s m i l i t a r i z a t i o n o f b e a t c u l t u r e . H i s a i m i s to t u r n the abstract m a c h i n e i n to a concep t u a l WarM a c h i n e . Th i s i s why he d e s c r i bes h i m s e l f n o t a s a p r o d u c e r or a n M C b u t a s ' a m a th e m a t i c i a n a n d a n e n g i n e e r ' w h o ' b u i l d s w e a p o n s for a l i v i n g . ' M a g i c o - m a t h e m a t i c s a n d c o n c e p t e n g i n e e r i n g conve rge i n the e n c r y p t i o n s y s t e m o f W i l d s t y l e . From t h i s em erges lkonoklas t Panzerism, t h e a r m o u red typogra p h i c a l m a c h i n e , t h e cryptogr a m m a tron u s e d i n the c o m m u n i c a t i o n wa rs o f t h e fu t u r e . Panzerism l ea v es the w a l l s o f the w o r l d b e h i n d t o become a n e n c r y p t i c te c h n i cs i n a u n i v ers e o f secret m y t h - s ystem s . Wri t i n g, a l p h a be t s , typogra p h i es a r e a l l u b i q u i t o u s e l i te tec h n o l o g i e s t h a t have l o wered t h e m s e l ves i n to y o u r c o n s c i o u s n e s s where they a d a p t you to th eir h a b i t , th eir refl e x , their perce p t i o n . The a l p h a b e t i s n o t j u s t a t r a n s p a r e n t c o m m u n i c a t i o n b u t a u b i q u i to u s t e c h n o l ogy, a s y s t e m a d a pted a n d e n c r y p t e d b y s u c c e s s i v e r e l i g i o u s regi m e s for w a r fa r e : t h e R o m a n , t h e C h r i s t i a n , t h e M e d i e va l , t h e G o t h i c . Word s , l et t e r s , s i gn s , s y m b o l s a r e a l l w e a p o n s , s t o l e n , o r n a m e n te d a n d w r o n g l y t i t l e d to h i d e and manipul ate their meaning. T h e p r i ze? C o n t r o l o f t h e m e a n s o f perce p t i o n : ' T h e R o m a n s s t o l e t h e a l p ha beta s y s t e m from the G reeks through w a r . T h e n i n m e d i ev a l t i m e s , m o n k s o r n a m e n ted l e tters to h i d e t h e i r m e a n i n g from the peop l e . N o w , t h e l e t t e r i s a r m o u red a g a i n s t further m a n i p u l a t i o n . ' R a m m e l l ze e ' s w a r t a k e s p l a c e o n t h i s fro n t : t h e b a r e l y percep t i b l e l ev e l o f h a b i t a n d refl e x . E a c h s u b s i d e n c e , e a c h decom pres s i o n i n t o u b i q u i ty i s a v i ctory fo r o n e t e c h n o l ogy o v e r a n o t h e r i n a p e r p e t u a l w a r b e t w e e n a d a p t i ve t e c h n o l o g i e s fo u g h t o n y o u r own s e n s o r i u m . Panzerism i s a m y s tery w e a p o n s y s t e m i n a secret w a r n o t a g a i n s t fu t u r e corpora t i o n s b u t a ga i n s t s h a d owy C h r i s t i a n c a b a l s : lkon oklast ' m e a n s symbol d e stroyer, it's a very, very high word m i l i t a r i l y, b e c a u s e the t w o Ks a re t h e o n l y two l e t ters t h a t c a n a s s a s s i n a t e t h e i n fi n i ty s i g n , remove t h e X . '

03[0 3 3 ] T h e MythScience of B e a t C u l t u r e B y e l a b o r a t i 'n g t h e a b s tract m a c h i n e o f H i p H o p , R a m m e l l z e e o p e n s u p t h e MythScience of beat cul ture, which becomes a mythengi neering o f sy m bo l i c i n fo r m a t i o n . ' 8 7 ' s a w e s o m e l y crepu s c u l a r t r a c k The L e c ture o p e n s u p t h e M i l i ta r y Perc e p t u a l C o m p l e x of M y t h S c i e n c e . Ra m m e l l zee i s n o l o n g e r a M a s t e r o f Cerem o n i e s , a n M C . I n s te a d h e ' s a n M K 3 , a M a s t e r o f K o m m a n d K o n t r o l K o m m u n i c a t i o n s , a d e s p o t i c e s o t e r ro r i s t w h o l e c tures o n 'Aero dyn a m i cs a n d Q u a n t u m p h y s i c s ' . I n s t e a d of bre a k i n g down i n fo r m a t i o n to i t s s i m p l e s t a t o m s , t h e t u n n e l v i s i o n a r y s y s t em a t i c a l l y en cry pts a l l i n fo r m a t i o n : ' B u t w e w a n t you t o u n d e r s t a n d t h a t t h e i n teger i s a n a t i o n by i ts e l f. I ts fu n c t i o n [pause] l e a d s you i n t o t h e fu t u r e . ' M a t h e m a g i c a l We a p o n Sy s t e m s Panzerism i s h e a v i e r t h a n t h e P e n t a g o n . I n s i d e t h e M i l i ta ry Perce p t u a l C o m p l e x , the i n teger i s t h e m a g i co-ma t h e m a t i c w e a p o n f o r u s e i n cyberne t i c i s t N o rbert W i e n e r ' s s c i e n t i fi c w a r s o f t h e fu t u r e . D r a w i n g you into a n a u d i t o r i u m where echoes seat y o u r h e a r i n g a t the b a c k , R a m m e l l ze e ' s v o i c e a r r i ve s f r o m a d i s t a n t l e c t e r n , i n d u c i n g a powerfu l s e n s e of b e i n g d r a w n i n to o ve r l a p p i n g s y s t e m s of p r i v y i n fo r m a t i o n : ' A l l form a t i o n a n d m i l i t ary fu n c t i o n t h a t h o l d t h e c o d e t o a n y for m a t i o n proced u r e . W i t h . O u t i t you h a v e n o c o n t ro l . You w i l l ha v e n o c o n t ro l . T h i s i n fo r m a t i o n I c a n n o t rea l l y g i v e y o u . B e c a u s e I a m n o t t h e m a s t e r o f i t s o w n t e c h n i q ue . ' Through o u t , t h e t o n e o f t h e l ec t u r e s h i fts t r ea chero us l y from acerb i c t o dra w l i n g to d i s q u i e t i ng : ' A s t h e [pa use] i n terroga tor o f lkon oklast Panzerism I d o n ' t g i ve n o b o d y no b u s i n e s s . I te l l you w h a t is fu l l m i l i t ary i n fo r m a t i o n and fu n c t i o n for a l l i n tegers, a l l fo u r o f t h e m . There are no p i ctogra m s here. What I draw i s a r c h i t e c t u r a l l y b u i l t and w i l l fly. ' I n fo r m a t i o n a n d fu n c t i o n : as a cryptogra m m a t o l ogy, lkon oklas t Panzerism e n c ry p t s a l l s y m b o l s , i n d u c i n g a n overpowe r i n g s e n s e o f o m i n o u s i n fo r m a t i o n a n d c o n s p i racy m a d e a u d i b l e i n L e c ture ' s keen i n g , m u l t i tracked v o i c e s . H o r n s l o o m i n to t o n a l s h a d o w s , s h a ttered by s t r i n g a r r a n g e m e n t s t h a t reverse i n to Vares i a n s h r i ekbacks w h i c h l e ave s p a c e s h u d d e r i n g f r o m t h e concerted a t t a c k i m p u l se . T h e cryptogra m m a tron c r a c k s a l p h a b e ts a n d breaks d o w n e q u a t i o n s . I t works a s a codebreaker a n d s y m b o l d e s troyer i n the o n go i n g perc e p t u a l w a r s : ' I n a w a r a ga i n s t s y m bo l s w h i c h h a v e b e e n w r o n g l y t i t l e d , o n l y t h e l e tt e r c a n f i g h t . The i n fi n i ty s i gn w i t h the fu s i o n s y m b o l

03 [ 0 3 4 ] [ x ] i n i t s m i d d l e h a s b e e n wro n g l y t i t l e d C h r i s t i a n [ + ] a n d t h u s i t h a s t o be assassi nated or t h e x h a s to be removed . ' T h e l e t t e r i s a s i gn a l s y s t e m d e s i g n e d for a r m o u red c o m b a t i n t h e s i g n w a r s . A c r o s s t h e u n s t a b l e fro n t o f t h e t y p o g ra p h i c w a r z o n e , R a m m e l l z e e a s s a s s i n a t e s t h e fu s i o n s y m b o l s i g n , a n d r e m o v e s t h e x u s i n g t h e i n te g e r a n d t h e l e t t e r . T h i s i s r a p p e r j e r u t h e D a m aj a a ' s Wra th of th e Ma th, w h e r e s y m b o l s a r e m a t h e m a g i c n u m b e r s i m bu e d w i t h l e t h a l c a p a b i l i t i e s . R a m m e l l z e e : ' T h e i n fi n i t y s i gn i s a m a t h e m a t i c a l , s c i e n t i fi c , m i l i t a ry s y m b o l . I t i s t h e h i g h e s t s y m b o l t h a t w e h a v e a n d y o u k n o w t h e r e i s n ' t e v e n a k e y o n t h e t y p e w r i t e r for i t . I ' m g o i n g t o fi n i s h t h e w a r . I ' m g o i n g t o a s s a s s i n a t e t h e i n fi n i ty s i g n . ' Equation = Annihilation I n h i s d r i v e t o c a p t u r e a l l l ev e l s o f t h e a n a l o g i c a l , R a m m e l l ze e c r o s s e s i n to the covert ops o f cl andestine percept i o n . Symbols are Commands w h i c h e n c o d e p o w e r : ' T h e 4 i n tegers , n o c t u r n a l m y t h , m u s i c n o t e s , m e t e r o l o g i c a l s y m b o l s o f h e t e r o s i z e r s a n d a l l i n t e g e r s t h a t fo r m a t e a n y p r o c e s s o f rea d i n g p i c t o g r a m k n o w l e d g e [pa use] a n d o f c o u r s e m y i n ven t i o n o f t h e a t o m i c n o t e [pause] for Panzerism . ' Th i s a b s t r a c t i o n o f H i p H o p ' s fo r m a l a r c h i t e c t u r e a n d t h e c o n v e r g e n c e o f i t s k i n a e s t h e t i c o p e r a t i o n s l e a d s R a m m e l l z e e to i n v e n t a m i l i t a r i z e d m a t h e m a t i c s . I n t h e war o f symbolic systems, the equation i s a n n i h i l a t i o n . Norbert W i ener l o oks u p fro m h i s f l o w c h a r t s t o a n n o u n c e t h a t ' T h e e ffe c t i v e mathematician i s rea l l y as da ngerous a s a pote n t i a l armourer of the new s c i e n t i fi c w a r o f t h e fu t u re . ' I n m a t h e m a g i c s , e q u a t i o n s a re t h e o p e ra t i n g i n s t r u c t i o n s f o r u n kn o w n a u t h o r i n g e n g i n e s . O n D o n B ra u t i g a n ' s b a c k s l e eve f o r j a m e s B r o w n ' s ' 7 3 The Payba ck, Min d Po wer is i l l u s t r a t e d by a p r o fi l e of a m a n r e c e s s e d i n to grey, p y r a m i d a l s t o n e . His c o r t e x i s d i v i d e d i n to s e c t i o n s , e a c h i n s c r i b ed w i t h M C 2 . M i n d g l ows w i t h t h e l i g h t o f m e n t a l archetypal equations: E = power, astral ized by magico- m a t h e m a t i c s . B r o w n a n a l o g i z e s v i n y l ' s groove t o fu n k ' s groove . B y a b s t r a c t i n g m a t e r i a l a n d A p p l i e d R h y t h m i c Te c h n o l ogy a t t h e s a m e m a t e r i a l p l a n e , h e o p e n s t h e c o n c e p t e c h n i c s o f fu n k . T h e revo l u t i o n s o f Min d Po wer o n t h e d e c k s f l e x e s t h e m u s c l es o f t h e m i n d . E a c h revo l u t i o n o f f u n k ' s groove r e s c o r e s t h e m i n d u n t i l i t b e c o m e s a s u p e r p o w e r . T h e j B d r i l l s t h e a u d i e n c e i n t o i ts n e w n e rv o u s s y s t e m , u n t i l y o u b e c o m e t h e s o u l j a h i n a n army i m bued w i t h Soul Power. E q u a t i o n s - p o s t u res o f t h e m i n d - c o n ve r g e w i t h p o s t -j o h n L i l y

03[ 0 3 5 ] c y b e r n e t i c b i o p r o g ra m m i n g o n h o w t o t a p i n t o t h e m i n d ' s p o w e r s , h o w to b o d y b u i l d t h e b ra i n . F u n k t u r n s i n t o a s u bj e c t i v i t y e n g i n e , i n t o w h a t D e t ro i t ' s Tec h n o dj - i m a g i n ee r E l e c t r i fy i n g M o j o w i l l i n ' 9 3 c a l l t h e 'Mental Machine'. T h e M y t h sc i e n c e o f t h e S c r a t c h The L e c ture p r o b e s i n to t h e u n e x p l o r e d p o s s i b i l i ty s p a c e o f s k r a t c h a d e l i a . T h e p e r c e p t u a l p r e s s u r e o f t h e n e w a r t fo r m fo r c e s R a m m e l l z e e forward i n to a M y t h S c i e n c e o f t h e s c r a t c h , t h e D a r ks i d e of t h e decks, the h e r m e t i c i s m o f t h e h e a d p h o n e s , t h e t r i g o n o m e t r y o f t h e t ra n s fo r m e r s w i t c h : ' Yo u m u s t t a l k t o t h e dj . Yo u m u s t . Ta l k . To . T h e dj . T h e s c r a t c h i s n o t f o r y o u . T h e s c r a t c h [ p a u s e ! i s n o t f o r m e . B u t y o u m u s t l i s t e n to i t a n yw a y . E d u c a t i o n i s o n l y s u b l i m i n a l . R e d e fi n e . R e d e fi n e . ' B r e a k i n g t h e b e a t d o e s n ' t a l wa y s r e d u c e i t to t h e a t o m s o f U l tr a m a g n e t i c M C s ' m a c h i n e m y t h o l o g y . F o r R a m m e l l z e e t h e b e a t i s a l re a d y a n e n c o d e d r h y t h m , a n d t o b r e a k i t d o w n o n l y e n c r y p t s i t fu r t h e r . T h e s c r a t c h i s v i n y l m a d e recog n i z a b l e y e t u n l o c a t a b l e . O n l y b y c o m p a r i s o n c a n y o u a p p r o a c h t h e s c r a t c h . I ts n e w t o n e l e a d s y o u o n a n a n a l o g i c a l fl i g h t p a t h . j u s t b e c a u s e i t ' s p o p d o e s n ' t m a ke i t e a s y . O n t h e c o n t ra ry, t h e s c i e n c e o f t h e s c r a t c h i s m a s s i v e l y d i ffi c u l t , d e m a n d i n g i n te n s e r e h e a r s a l . Fa r fro m b e i n g s o m e t h i n g a n y o n e c a n d o , s c ra t c h i n g i s i n t i m i d a t i n g l y e l i t i s t , a n a r t fo r m h e a r d b y a l l b u t o n l y u n d e rs t o o d b y t h e o b l i te ra t i . A s i t c u r re n t l y e x i s t s , 2 o t h C a r t c a n b a r e l y g r a s p t h e t o n a l h i s to r y o f t u r n ta b i l i z a t i o n . I n e x p l o r i n g t h e fo r m a l i m p l i ca t i o n s o f t h e s c r a t c h , R a m m e l l ze e i n ' 8 7 c a n t h e refore p r e s u p p o s e a g l o b a l a u d i e n c e o f 1 0 0 a t t h e m o s t . S t r i n g s a r e a r r a n g e d i n to s h r i e k i n g a t ta cks t h a t h a l t a b r u p t l y , l e a v i n g s p a ce t r e m b l i n g w i t h s h o c k i m p a c t l i ke a n E E G p u l s e g o n e c r i t i c a l : ' O n l y he h a s t h e n u m b e r w r i t t e n d o w n i n t h e s c r a t c h . I n t e l l e c t u a l i z e . R e d e fi n e . B e c a u s e i t ' s o n l y i n t h e dj ' s m a n u s c r i p t . A n d i t ' s n o s p o k e n w o r d . I t ' s c a l l ed a s c r a tc h . W i t h a l l t h e m i l l i o n s a n d m i l l i o n s o f m e g a b e a t s t h a t h a v e b e e n p r o g ra m m e d i n o u r m i n d s , w e k n o w i t a l l e q u a l s d o w n to z e r o zero zero a c t i v e n e g a t i v e s . · A fem a l e c h o r u s k e e n s m o u r n fu l l y . A s h i p h o r n b l a s ts a s i t a p p r o a c h e s h a r b o u r : ' Yo u h o l d t h e s c r a t c h b e i n g a b r o k e n r e c o r d . T h i s w i n e t u r n s t o t w i n e . E n t w i n e s l i ke a r o p e i n y o u r m i n d / l i ke D N A c o d e . ' T h e M y th S c i e n c e o f t h e s c r a t c h i s j u s t o n e e l e m e n t o f t h e t ra u m a t i z i n g s y s t e m o f G o t h i c F u t u r i s m : ' Yo u h a v e j u s t g o t t e n a c h i l l i n t h e fee l i ng o f y o u r h e a r t . ( Foreboding echo) W i t h m o s t p e o p l e t h e i r h e a r t

03[036] w o u l d h a v e s t o p p e d . B u t I t h i n k y o u r s [ speeded-up vocoder[ j u s t g o t s t a r t e d . I h e l d a l l t h i s i n fo r m a t i o n b a c k fro m y o u j u s t b e c a u s e y o u h a v e n ' t s i gn e d y o u r n a m e t o y o u r d e a t h c e r t i fi c a t e . ' S h a r d s o f fu n e r e a l g h o s t c h o i r b r e a k i n , t h e j a gged e d g e s o f b r o k e n h a r m o n y . G o t h i c F u t u r i s m fa s t fo r w a r d s t h e a n c i e n t G o t h i c · G e r m a n i c s c r i p t • s u p p r e s s e d b y R o m a n t y p o g r a p h y . R a m m e l l zee b e c o m e s t h e H i s t o re t i c i a n , t h e h i s t o r i c a l t h e o re t i c i a n w h o t e r r i f i e s t h r o u g h h i s e s o t e r i c a l t e r ro r i s m . F a c t o r y r h y t h m s e n gu l f t h e l ec t u r e . A b o t t l e smashes, becomes the beat, pistons punch out time, hammers jack and j udder, s t e a m s h o o t s n e e d l e s of h i s s i n g a i r . Stri ngs s w a r m i n a n i m p e n d i n g u n e a s e , a s t a t e o f u n l o c a t a b l e t h r e a t . F o r l o r n v o i c e s wa i l i n a t h r e n o d y for d e l e t e d m a s s a cr e s . L e c ture i s s t r u c t u red a s a s e r i e s o f i n s c r u t a b l e c o m m a n d s f r o m a D e s t r u c t i v K n o w l e d g e E n g i n e : ' W e w a n t y o u to p r o c e e d w i t h y o u r b o o k s o n G o t h i c t e x t s . We w a n t y o u to o p e n u p t h e p a g e s 449 4 5 R o m a n L a w . T u r n to c a r d n u m b er 1 9 9 7 . A n d for t h i s we w a n t y o u t o k n o w t h a t y o u h a v e a l r e a d y fa i l ed y o u r c o u r s e w i t h a B . Y o u h a v e n ' t e v e n g o t t e n to what i t i s . T h e i n fl a m m a t i o n o f a l l i n fo r m a t i o n . ' Escape i nto P syc h o p at h o g e n eti c s : D r Oct a g o n So m e tim e s I d o n ' t e ve n fe e l like I am a h u m a n b e i n g anym o re Kool Keith ReEntering Planet 3 On h e a r i n g Dr Oc tagon, H i p H o p ' s p r o t e c t i o n i s m , i t s a p p e t i t e for g r o u n d i n g r e a l i ty, its d r i v e to d i s c i p l i n e and p u n i s h are o b s o l e s c e d . A l l i t s be l i e f systems a r e dem i l i tarized, vaporised o n contact, leaving you stranded i n a psychopathogenetic future with n o way o f getting back to t h e p r e s e n t . K o o l K e i t h a n d h i s h e t e r o n y m s a r e a l w a y s c o m i n g back t o E a r t h , p e r p e t u a l l y r e e n t e r i n g P l a n e t 3 ' s o r b i t . T h e y ' r e a l re a d y a t h o m e w i t h o f fw o r l d s t a te s ; i t ' s t h e E a r t h p l a n e t a n d i t ' s E a r t h p e o p l e - y o u ! w h o a r e t h e a l i e n s to t h e m . N o t h i n g i s a l i e n to D r O c t a g o n b e c a u s e e v e r y t h i n g i s a l i e n . ' S p a c e i s m y p l a n e t ' h e r e p o r t s , i n a L ea ve i t t o Bea v er-v o i c e : ' I l i ve t h e r e , e a t

03[ 0 3 7 ) t h e r e , w a s h t h e r e . ' T h i s g e n e r a t e s t h e s a m e re l i e f < > th r i l l you fe e l w h e n T r i c ky q u o t e s j a p a n ' s ' 8 1 Ghosts o n ' 9 4 ' s A fterm a th . Fa r fro m pr eten d i n g w h i te A m e r i c a n s d o n ' t e x i s t , D r O c t a g o n p r o d ucer D a n N a ke m u r a ­ k n o wn as The A u t o m a t o r - o p e n s up a m e m o ryba n k of 50s W h i t e - M a n s c i - fi m o v i e s . Astonish Me! The A u to m a tor perpetu a l l y fo l d s the m i n d i n to o r i ga m i . Listen i n g t o The Automator rem i n d s you that H i p H o p i s computer m u s i c . Trad H i p H o p c o n t i n u e s to i n s ta l l a p a i n fu l b i nary m a c h i n e , a r i g i d fu n k c a n o n that cuts r i g h t through you, a n d p o l a r i zes your f l u x . B u t a fter Ko o l K e i t h ' s , The Automator's a nd guest producer K u t M a ster K u r t ' s ' 9 5 album Dr Octagon, this restri cted aesthetic fee l s l i ke e m o t i o n a l a m p u t a t i o n , l i ke term i n a l i n s u l a r i ty el evated to a fra u d u l e n t e t h i c s , a n e t h i c s k n o w n a s B l a c k M u s i c . W h i c h i s w h y the t e r m B l a c k M u s i c s o o ften s o u n d s s t u p i d , s o d a ted a n d p o i n t l e s s , a p h ra s e only used by t h e m o s t retarded rfi b c h e e r l e a d e r s . B l a c k M u s i c : t h e term c l a m p s t h e bra i n b e c a u s e i t o m i ts t h e r o l e o f the m a c h i n e , because i t b l i t h e l y i g n ores c o m p u t e r i z a ti o n by l o ca ti n g a l l o f H i p H o p b a c k i n the a l l -too - h u m a n z o n e s o f t h e s o u l o r the s treet. To u s e t h e p h r a s e B l a c k M u s i c i s to p r e s u m e a co n s en s us t h a t h a s never e x i s te d , to a s s u m e a rea d i l y a u d i b l e p r e - sy n t h e t i c e s s e n c e w h i c h m a c h i n e s h a v e externa l i zed , m a n u fa c t u re d a n d g l o b a l i z e d . N o l o n ge r s h e l te r i n g w i t h i n a n e s s e n c e t h a t n e v e r w a s , today ' s F u t u r i s t understands the myth i l logic of the soundmach ine. T h e F u t u r i s t i s a s c i e n t i s t w h o m a n u fa c t u r e s n e w M y t h S c i en c e s from s o u n d m a c h i n e s : the processes o f A u toCreat i o n , A u t o C a t a l y s i s , A u t o D e s t r u c t i o n w h i c h cooperate a s t h e secret l i fe o f m a c h i n e s , t h e c l a s h o f concepts on t h e p l a n e o f X meets Y . I Multiplied The t ra d i t i o n a l d i a g n o s i s o f a l i en a t i o n n o l o n g e r m a kes a n y s e n s e t o t h e 9 0 s p r o d u cer. I n s te a d o f s y n c h ro n i z i n g t h e m e d i a te d body w i t h s e l f i m a ge u n t i l t h e 2 m a k e a s i n g l e k n o w l e d g e o f s e l f, D r O c t a g o n d i s a l i g n s t h e s e l v e s a n d t h e n c o n t i n u e s to m u l t i p l y t h e m i n a m i to s i s of t h e I .

03 [ 0 3 8) Y o u A re a P o p u l ati o n I t w a s a l r e a d y c l e a r t o R i m b a u d b a c k i n t h e 1 9 t h C t h a t I i s a n o t h e r . To l i s t e n to Dr O c t a g o n t o d a y i s to g r a s p t h a t e v e r y I i s a c r o w d , t h a t y o u a r e a p o p u l a t i o n , t h a t u n i ty i s a f l e e t i n g , a c c i d e n t a l c o n v e r ge n c e p e rs i s t e n t l y m i s ta k e n f o r a n i d e n t i t y. T h e u n i fi e d s e l f i s a n a m p u t a te d s e l f. T h e h u m a n i s a n e c o l ogy of m i n d t h r o u g h w h i c h the Doctor w a l ks , h a c k i n g and s l i c i n g p a t h w a y s t h ro u g h t h e d i s t r i b u te d b ra i n . H e < > l t i s t h e o ffw o r l d x e n o b i o l og i s t , fa s c i n a t e d b y t h e b i o d i v e r s i ty o f t h e h u m a n o rga n i s m : ' I s t u d y a n d i n s p e c t p e o p l e . C h o o s i n g s c i e n t i fi c m a t t e r , I p r o b e f o r e v i d e n c e . ' H e ' s attracted to the human's connective zones, yo u r buttcracks, vaginas, mouths, s p h i ncters, magnetised to the human as a mammal i n a n a n i m a l c o n t i n u u m . O c t a g o n i s a l w a y s p l u gg i n g h u m a n s i n to a n i m a l s , r e co n fi g u r i n g b o d i l y h i e r a rc h i es , r e co m b i n a t i n g t h e m w i t h c a r t o o n s . The h u m a n s p e c i e s i s his z o o i l l og i c a l l a b o r a t o r y , D r M o rea u , D r Benway, Dr Octopus and D r K e r v o r k i a n his i n p u t s . I n s t e a d o f g et t i n g h i m s e l f t o g e t h e r , h e fa l l s a p a rt a n d t h e p a r t s - D r O c t a go n , K o o l K e i t h , U l tramagnetic MCs - battle one a nother. Thus Kool Keith on h i s Dr O c t a g o n p e rs o n a : ' W h e n h e s a y s " ' ' l l b a t t l e U l t r a m a g n e t i c a n d m y o w n s e l fa s w e l l , " h e d e fi n i t e l y m e a n s t h a t . ' N o t s c h i z o p h r e n i a , n o r q u a d r o p h e n i a , b u t o c t o p h re n i a . Th e fo rm s o f t h o u g h t a s s i s t e d b y c o m p u t e r are m u tant felix Guattari T e c h n o fy H i p H o p : B u i l d th e U n i d e nti f i e d A u d i o - O bj e ct K o o l K e i t h d e f i n e s ' e l eva t i o n ' a s ' n e w t e r m s a b o v e t h e n a t u r a l l a n g u a g e o f M C s ' . T o e l ev a t e m e a n s t o re i nv e n t t h e c o n c e p t ec h n i c s o f H i p H o p, i ts c o n c e p t u a l t e c h n o l ogy. I t m e a n s t e c h n o fy i n g H i p H o p , i n a p a ra l l e l t o C y b o t ro n ' s ' 8 5 d e m a n d to t e c h n o fy t h e b i o s p h e r e . T o ' a d v a n c e tec h n i c a l ' i s t o p e r p e t u a l l y e n g i n e e r H i p H o p i n to U n i d e n t i f i a b l e A u d i o - O bj e c t s , U A O s t h a t h u r l l i s t e n e rs a g a i n s t t h e r e e f o f t h e i r s e n s e s . The U A O i s a Y e a r - 3 0 0 0 c o n n e c t i o n m a c h i n e t h a t r u n s o n cos m o p h o n i c p o w e r , a j u p i te r - t o - E a r t h l i n k e n a b l i n g t h e a l i e n t o ' p rogra m o n e a n d g o t o E a r t h t h r o u g h t h e f a x m a c h i n e s , M y n u m b e r 7 0 9 7 5 5 - 6 E L 3 , C o m p u te r fi l e 9 - 3 , D i g i t a l l ev e l . ' A s c o m p u t er m u s i c , t h e U A O h a s a n i n t e r n a l c o m p u t e r a r c h i te c t u re

03[039] w h i c h d i g i t i z e s fu n k ' s g r o o ve n g i n e : ' I ' l l t a k e a b r e a k l i ke j a m e s B ro w n t o the bridge, ' the section which turns the Song inside out. H i p Hop is d e g ra v i t a t e d , b e co m i n g n o t o n l y w e i g h t l e s s b u t i n v a s i v e l y P h o n o f i c t i o n a l , a gg r e s s i v e l y c o m p e t i n g w i t h t h e c o n s e n s u s o f y o u r h e a d , forc i b l y s u b s t i t u t i n g y o u r a s s u m p t i o n s w i t h i ts o wn . H i p H o p i s t r a n s c h r o n i z e d . T h e e n t i re D r Oc tagon t r i p l e c o n c e p t a l b u m r e t u r n s t o ' 9 6 f r o m t h e Y e a r 4 0 0 0 , f r o m t h e 4 0 t h C : ' I t ' s l i ke i f y o u were r u n n i n g a r o u n d i n t h e y e a r 4 0 0 0 a n d t h i s t a p e i s p l a y i n g . ' D r Octagon s n a t c h e s y o u i n t o t h e w o r l d i t c o m e s fro m , a n e n v i r o n m e n t w h i c h y o u ' re a t h o m e i n . T h e r e c o r d t u r n s y o u i n to a 4 0 t h C h u m a n . I t j u m p s y o u i n to a w o r l d i n w h i c h i t ' s o n . C o n s e q u e n ce s a r e e i t h e r i n fi n i te recurs i o n [th i s tape i s p l a y i n g and o n this tape i s a tape of. . . I or c o m p l e t e i n d i ffe r e n c e : y o u w e r e r u n n i n g a r o u n d , y o u n e v e r e v e n h e a r d D r Octagon. The a l b u m is an o c t a go n a l t i m e m a c h i n e , a fu t u r e U A O s h o o t i n g p a s t ' 9 6 b a c k to ' 8 7 to d u e l w i t h h i s a l b u m s , t o t a k e o n h i s fo r m e r i d e n t i ty , h i s fo r m e r gro u p : ' D r O c t a g o n was d e s i gn e d f o r t h e s p ec i fi c f u n c t i o n o f r e t u r n i n g fro m t h e f u t u r e . H e w o u l d l ove a c r a c k a t Cri tical Bea tdo wn. ' T h e U l t r a m a g n e t i c s p a c e s h i p b e c o m e s t h e O c t a go n a l t i m e m a c h i n e . H a lo e s we re fo u n d a t t h e l a n ding s i t e . Sir ltlenelik 2 M i rrors i n the Clear j o h n C a r p e n t e r i z e d s y n t h s freeze t i m e i n to t h e h o v e r i n g t o n e o f t h e m e d i co - co n s p i ra c y t h r i l l e r . Earth People u s e s r h y t h m s y n t h e s i z e r s f o r t h e i r i n d i ffe r e n c e , t h e i r t i n n y t re b l e : ' I s e e i t a s fu t u r i s t i c n e w w a v e r o c k . I t ' s m e t a l i n i t s o w n w a y . I t ' s m e a n t t o h a v e t h a t i n d u s t r i a l e ffect t o i t but s l ow e d d o wn . ' I n fo r m a t i o n s tr e s s l i g h t s u p t h e s e n s o r i u m l i ke t h e N i p p o n T r a d e Centre. Kool Keith replaces H i p H o p ' s Trad voice armour wit h a h i g h l y s t r u n g h a u te u r, a n e x t r e m e s a r c a s m p o i n t e d w i t h m a l i c i o u s p r e c i s i o n a t T r a d H i p H o p ' s s a n c t i fi e d s t u p i d i t i e s , a n e x t r e m e a v e r s i o n t o i t s fam i l i a r fi x a t i o n s . M o r a l i ty I s a M u s c l e , C l e n c h e d M o r a l s a re j u s t t h e s e s e n s o r y c o a g u l a t i o n s , t h e s e t e n s i o n s k n o t t e d a n d b u n c h e d a c r o s s t h e s k i n o f y o u r b e l i e fs . D r Octagon i n v e r t s t h e T r a d

03[040] h i erarchy o f h e a d / s t o m a c h s o t h a t y o u r h e a d t a s tes i l l a n d y o u r i n te s t i n e s t h i n k . Yo u r b ra i n t h r o b s , i n p e r i s ta l t i c waves . Dr Octagon keeps everyt h i n g u n r ea l , i t s v o i c e in p e r p e t u a l m o t i o n , from g l u t i no u s to g l o a t i n g t o d a s tard l y to bed s i d e to m a l i c i o u s . I n s t e a d of grou n d i n g you i t u p r o u tes y o u , p u l l i n g you a c r o s s i n to i ts worl d , m o u l d i n g t h e n m a s s a g i n g you a c r o s s a s e r i e s o f t h r e s h o l d s you n e v e r knew e x i s ted . Design for a Brain I n O c t a go n a l s o u n d d e s i g n , t h e m u s i c s u d d e n l y d r o p s o u t , l i ke ba l l a s t j e t t i s o n e d , s o t h a t e a c h Wo r d O bj e c t becomes a n obj e c t i l e proj ected t h r o u g h space. Vo i c e echoes t h e fi r s t word o f e a c h s e n t e n c e : ' V a n i s h i n g v i c t i m s k e p t a l i v e o n m e t a l e xa m i n i n g t a b l e s . E x p e r t s , ba ffl e d a t t h e s u r v i v a l from e x p o s u r e t o l a s e r s c a l p e l s , G reen berets gro w i n g coneheads in mecha nical wombs . ' W h e n t h e m u s i c e v a c u a t e s , t h e choru s - s a m p l e z o o m s p a s t e a r s h o t : ' M egatron ! ' ' Rej u v e n a t e ! ' ' G a l a xy Rays Powerfu l ! ' B y b e i n g proj ected a l l a t o n c e , t h e c h o r u s c o m p a c t s i n to a s y n t a x be a m , p a c k e d w i t h k i n e t i c e n e rgy, a s u p e r s o n i c a l l a to n c e n e s s : ' C o n t ro l l e d b y ga m m a l i g h ts ! ' M a g n i fi e d v o i c e b l a s t s o f f a c r o s s s a m p l a d e l i c s p a c e w i t h a n i n t e n s i fi e d p h o n o d r i v e . Ear th People i s fi l l ed w i t h t h e p l o s i v e i m pa c t o f p o l y sy l l a b l e s w h i c h p u s h e s a ga i n s t t h e b a s s a n d t h e b e a t s , t u g s a t t h e m , p u l l s towa r d s a n d away fro m t h e m , a c t i n g a s a f i e l d o f a t t r a c t i o n f o r t h e groove n g i n e . C o n s o n a n t s a re c h a rged u n t i l s y n t a x d e t o n a t e s , i n a s e r i e s o f o ff- t h e - b e a t e x P L O s i o n s : ' Oc t a g o n , oxyge n , i l l u m i n u m , i n to x i c a n ts . ' I n t h e p a ra l l a x w o r l d o f Techn ical Difficulties, where D r Octagon goes ' wa l k i n g t h r o u g h a p o l ygon ' , r h y t h m fa l l s a wa y a n d sentence looms forwa r d : t h e e a r h e a r s i t a s a h e a d l i n e . 'My f i r s t i m pres s i o n was to g i v e p a t i e n ts a l e s s o n , w h o ' s t h e b e s t to p u t m e to t h e t e s t , I ' l l b a t t l e U l t r a m a g n e t i c , myown s e l fa s we l l . ' S i m u l ta n e o u s l y a robotvoice r e p e a t s i t s l owed d o w n , l i ke a rad i o t u n e d i n to a p h o n e - i n g e n e ra t i n g d e l a y fee d b a c k . T h i s 2 n d v o i c e repeats t h e last wo r d s o f a sentence, dra w l i n g , sneering, s l o wed d ow n or d i s t a n t l i ke a fa u l ty e c h o c h a m b e r s e n d i n g b a c k a u r a l d i s t o r t i o n s . O c t o p h ren i a fru s t r a t e s flow. D r O c t a go n , S i r M e n e l i k t h e E m pe ro r G e n e ra l , a l l a c c e n t u n ex p e c t e d words a n d s tress s y l l a b l e s so tha t Wo r d O bj ec t s d i s a r t i c u l a t e t h e m s e l v e s . F l ow fa l l s a p a r t i n a d r a s t i c d y s p h a s i a w h e n t h e b ra i n ' s u n a b l e to coord i n a t e s y n t a x . By a r r e s t i n g H i p H o p ' s verbose f l ow m o t i o n , s y n t a x s e i ze s u p t h e n l u rc h e s fo rward i n a

0 3 [ 04 1 ) r o b o t i c c a d e n c e t h a t i n d u c e s a n a rh yt h m i c i r r i t a t i o n . M i n d s t r e s s e r : t h e o r d e r o f t h i n g s b r e a k s u p . S e n s e s t a r t s z i g z a gg i n g l i ke t h e l i g h t n i n g l ogo b o l t i n g a c r o s s C a p t a i n M a rve l ' s c o s t u m e . B y m i s s i n g o u t t h e ' a n d ' , o c t a go n a l c o n s c i o u s n e s s c o l l a p s e s t h e d i s t a n c e b e twe e n Wo r d O bj e c t s , c r ea t i n g a d a t a f l o w o f d i ffe r e n t m a t t e r s , a d i s c o n t i n u u m o f a l l k i n d s o f m i n d s . I t u p d a t e s t h e i n fo o v e r l o a d o f j oycean stream o f consciousness, t h e unperiodic c o n t i n u i ties of Reed a n d B u r r o u g h s . O c t o p h re n i a i s b o t h d a t a s t r e a m a n d f l o w fru s t r a t i o n , c o n n e c t i v e s y n t h e s i s a n d d i sj u n c t i o n . Octa g o n a l C o n s c i o u s n e s s T h e s e te c h n i q u e s c o n ve r g e u n t i l T r a d s t r e a m - o f-co n s c i o u s n e s s - t h a t m o d e r n i s t b y p r o d u c t o f ra d i o - c r o s s e s a n o t h e r t h res h o l d i n to p a ra l l e l p r o c e s s i n g , t h e e m e rg e n c e from m a s s i v e l y c o n ne c t e d c o m p u t e r p r o g r a m m i n g . T h e S o n g i s r e b u i l t, o u t o f e x c e r p t s f r o m 8 u n re l a te d b r o a d c a s ts h a p p e n i n g s i m u l t a n e o u s l y . At C e n t u r y ' s S t a r t , W. E . B . D u B o i s a n a l y s e d d o u b l e c o n s c i o u s n e s s a s ' t h i s s e n s e o f a l w a y s l o o k i n g a t o n e ' s s e l f t h r o u g h t h e e y e s o f o t h e rs ' . M u ta t i o n b y h i g h - p re s s u r e c a p i t a l i s m c o l l a p s e s p s yc h i c a n d s o c i a l m e m b r a n e s , d o u b l i n g a n d s p l i t t i n g y o u i n to t h e 2 n d p e rs o n . A t C e n t u r y ' s E n d , K o o l K e i t h p r o t e g e a n d d i g i t a l - a g e l y r i c i s t S i r M e ne l i k e x em p l i fi e s o c t a go n a l c o n s c i o u s n e s s i n t h e I n fo r m a t i o n e r a . A d a p ta t i o n t o t h e I n fo r m a t i o n - I m a g e e c o n o m y m u l t i p l i e s t h e s e n s e s o f s e e i n g , h e a r i n g , fee l i n g y o u r s e l ve s i n to t h e 8 t h p e rs o n . O n Production i s n e i t h e r s o n g n o r t r a c k , m o r e a n extre m e l y c o m p re s s e d l ec t u re d e l i v e r e d i n a m e rc i l e s s m o n o t o n e a n d s o i n s i s t e n t l y b y S i r M e n e l i k - t h e E m p er o r G e n e r a l - t h a t i t i n d u c e s i n fo r m a t i o n p a n i c , u p d a t i n g R a m m e l l zee ' s a n d S h o c k D e l l ' s ' 8 7 The Lecture. The L ecture i s e s o t e r ro r i s t s c i e n c e : h e r m e t i c , d e s p o t i c , t e r ro r i z i n g . W i t h S i r M e n e l i k , s c i e n c e t r a v e l s a t t h e s p e e d o f t h o u g h t , p h a se s h i ft i n g i n t o a D i s u n i fi e d F i e l d T h e o ry. T h e M C b e c o m e s a H u m a n C o m p u ter, a p a ra l l e l p r o c e s s o r w h o h e a r s t a l k i n g i n e v e r yo n e ' s m i n d .

0 3 [ 04 2 ] Wh a t o f t h e o th e rs , t h e h u m a n s wi t h t h e ir a lm o s t n o n - exis t e n t t o l e r a n c e fo r p a i n a n d t h e ir t o t a lly in a de q u a t e m e n ta l dis ciplin e ? Sir Henelik The M C I s a P a r a l l e l P rocessor A t this l e v e l of m i n d stress, syntax becomes a rapa ttack w h i c h strobes t h e b ra i n , i m p a c t i n g w i t h t h e r e m o r s e l e s s freq u e n c y o f m e a s u re d v o l t a g e . A s a t t e n t i o n d r a g s fu r t h e r b e h i n d t h e i n e x o r a b l e i n fo r m a t i o n f l o w , t h e g a p b e t w e e n a t t e n t i o n l a g a n d i n fo v e l o c i t y i s p h a s es h i ft e d , p a s s i n g from s e n s a t i o n s o f s tu p i d i ty i n to a n i t c h i n t h e b ra i n . On Production t r i ggers a n a c u t e l y t a c t i l e m e n t a l i r r i t a t i o n t h a t s i m u l ta n e o u s l y b e g i n s craw l i n g o v e r t h e s k i n . Y o u r b ra i n fee l s fa t a n d fl a b by, a t o r p i d m u s c l e d r a gg i n g i ts b u l k a fter t h i s r a p t h a t j u s t w o n ' t s t o p . T h i s i s n o t s c i e n c e f i c t i o n b u t N e w S c i e n c e , fu n c t i o n i n g from t h e y e a r 4 0 0 1 , from ' t h e t i m e w h e n t h e h u m a n b ra i n h a s r e a c h e d t h e e r a o f fu l l e m p l oy m e n t . ' C h r i s M a rk e r ' s fi l m Sans solei/ a n n o u n c e s t h i s e r a , w h e n ' ev e r y t h i n g w o r k s t o p e r fe c t i o n , a l l t h a t we a l l o w t o s l u m be r , i n c l u d i n g m e m o ry. l o g i c a l c o n s e q u e n c e : t o t a l r e c a l l i s m e m o ry a na e s t h e t i z e d . A ft e r so m a n y s t o r i e s o f m e n w h o h a d l o s t t h e i r m e m o r y , h e r e i s t h e s t o ry o f o n e w h o h a s l o s t fo r g e t t i n g . ' O n Production s h i ft s f r o m a r e p o r t from t h e fl i g h t d e c k t o i n s t r u c t i o n s from a navigation m a n u a l , to report o f i m m une system breakdown, to e m e rg e n c y b r o a d c a s t , to a l e c t u r e o n c h a o s t h e ory fr o m a f u t u r e v e r s i o n o f t h e S a n t a F e I n s t i t u t e : ' D o e s s c i e n c e a c h i e v e a u n i fi e d t h eory o f c o m p l ex s y s t e m s ? C o m p l e te l y c h a o t i c s y s t e m s , s u c h a s t u r b u l e n t f l u i d s , hea ted g a s e s a p p e a r o n the borders between r i g i d order a n d poetry a m o n g a l i s t o f t h e 3 1 w a y s t o d e fi n e " n o m a d i c a l " . ' S i r M e n e l i k s w i t c h e s a d d re s s a ga i n , b ro a d c a s t i n g a w a r n i n g t h a t t u r n s you i n to a n e c h o c h a m b e r : ' A l l m a n k i n d m u s t s u b m i t to g e n e t i c t e s t i n g , D i s e a s e c o n t a m i n a te s e v e r y t r a n s m i s s i o n o f u n a w a r e n es s . ' Te r r o r r e s o u n d s through the dome o f your head. A s S i r M e n e l i k t h e E m p e r o r G e n er a l e m e rges f r o m N o A waren ess, t h e synth's dying arc and e l ectric piano drop away, l e a v i n g a n o m i n o u s t e x t u r e d r i ft, a v a p o u r m o a n . D r u m m a c h i n e s t i l t s , i t s i n ex p r e s s i v e p u l s e s s t u t t e r . Wo r d O bj e c t s whaaAAm a c r o s s t h e s t e r e o p e r ce p t u a l fi e l d . S i r M e n e l i k l ea v e s s e q u e n t i a l m o n o r a t i o n a l f l o w f o r a n e w m o d e o f r a t i o n a l i ty. N o t v e r b a l f l o w b u t r a t h e r a p a ra l l e l - s y s t e m s m a i n te n a n c e c h e c k , a s p e c i f i c a t i o n s wa r n i n g r e p o r t r e a d o u t r ea l l y f a s t , t o i n d u c e

0 3 [ 04 3 ] i n fo v e r l o a d o f ' A c o u s t i c d e a t h b y a n a l ys i s . ' W h i c h g e n e r a t e s a d i s c o n n e c ted m u l t i r a t i o n a l S o n i c F i c t i o n , i n w h i c h c o n c e p t s j u m p , t h o u g h t l e a p fr o g s , m i n d z i gz a g s fro m c l a u s e t o c l a u s e , a p e r c e p t u a l c u r r e n t t r a n s m i ts b e t w e e n e a c h i n terva l s , r i p p l e s a c ro s s g a p s . C o n c e p t s a r e e l e c t r i fi e d i n to p a r a r a t i o n a l m i l i ta r y i n s t r u c t i o n s t o ' i n c r e a s e m a g n e t i c fi e l d s , E l e c t ro - l i q u i d e x p a n d s , c r i t i c a l p ro c e d u re s c o o l 77 K e l v i n s b y s u b m e rg i n g . ' E a c h t r a c k i n d u c e s a fee l i n g o f p e r p e t u a l d y s p h o r i a , u n t y i n g a n d r e a r r a n g i n g y o u r n e r v e s , d i s - e a s e t r i ggered by s a m p l a d e l i a b e fo r e t h e l y r i c s e v e r s t a r t . T h i s v e r b a l v e r bo s i ty , t h i s i n fo - e x p a n s i o n t u r n s y o u i n t o a d e c o d e r p e r p e t u a l l y s w i t c h i n g r o u t e s b e t w e e n M a rv e l c o s m o l ogy and c o s m e t i c s u r gery, t r a n s p e c i e s organ t ra n s p l a n ta t i o n a n d a s tr o p h y s i c s , a l i e n s e x a n d m e d i co p a th o l ogy. We think a s in s tru m e n ts /ltixmaster /ltike T h e D e c k M a g u s T u r n s t h e Ta b l e s o n Ti m e Tu r n t a b l i s t 0 B e r t ' s s k r a t c h a d e l i c s o l o s a r e t h e s o n i c p a ra l l e l o f t h e s f/ h o r r o r t r a n s fo r m a t i o n s c e n e . A l re a d y e ffe c t e d s o u n d s b e c o m e u n r e c o g n i z a b l e t e x t u r e ffec t s , s p o n g y b l o c s p h a s e s h i ft i n g t h r o u g h a s e r i e s o f u n kn o w n a u d i o s t a t e s . S q u e a l s m o d u l a t e i n t o w h i s t l e s a n d s c r e e c h e s , d e c a y i n to a s t o n i s h i n g l y s u s t a i n e d w h i n n y w h i c h r e v e r t s b r i e f l y b a c k i n to a r e c og n i z a b l y m a l e s c r e a m b e fo r e fa d i n g o u t e n t i re l y . S k r a t c h a d e l i a i s m u t a n te x t u r e g e n e r a t e d by t u r n t a b i l i z a t i o n , b y u s i n g t h e t u r n t a b l e s a s u n i ve r s a l t o n e g e n e r a t o r s . D i s k o f t u r n ta b l e e n s e m b l e lnvisibl Skratch Picklz: ' It's the o n l y i n strument that can be any i n s t r u m e n t . W h e n y o u h a v e a g u i ta r , y o u ' r e l i m i te d t o h o w t h e gu i t a r sounds. But when you h a v e a turntab l e , you can t a k e a guitar, you can take a drum sound, you can take a dog barking, you can take any sound a n d m a n i p u l a te i t i n t o y o u r o w n . ' 0 B e r t h o o k s t h e d e c k s u p t o g u i t a r - p ed a l s , d r a s t i c a l l y e ffe c t i n g skratchad e l i c textures, i mmediately openi n g u p an entirely new s p e c t r u m o f a l t e r e d b e a t s a n d m u t a n te x t u r e s .

03[044] I de n t i fica t i o n C o d e u n i d e n t i fie d, Pre s s a b u t t o n , ch a n g e my fa ce D r Octagon The I n h u m a n Dr Octagon i s n ' t h u m a n . Rather i t < > he is a n i n h u m a n that s l i ps a n d s l i des a c r o s s t h e a l i e n • · h u m a n d i s c o n t i n u u m . I ts • · h i s ' s k i n i s g r e e n a n d s i l ve r ' , morph a b l e to a n y chromatic s i t u a t i o n by ' c h a n g i n g b l u e s k i n ' u n t i l its ' b ro w n c o l o u r ' s c o m i n g b a c k ' . l t < > h e i s a n a l i e n a d a p t i n g t o i t s W e s t C o a s t e n v i r o n m e n t , l o o k i n g l i ke a C a u c a s i a n p e o p l o i d t h e n ' a p a r a m e d i c fe t u s o f t h e e a s t ' . H e ' s p r e p p e d w i t h u n kn o w n m e d i c a l t e c h : ' cy b e r n e t i c m i cr o s c o pe s ' ; ' z t e l e s c o p e s t h a t m a gn i fy t h e eye o f a r o a c h ' . Blue Flo wers i s a p s y c h o p a s t o r a l set in the ' C h u rc h of the O p e ra t i n g R oo m ' , d e l i ve r e d i n a b e d s i d e m a n n er o f fr i gh t e n i n g r e a s s u r a n c e . U n - E Z l i s t e n i n g s i re n s c i r c l e t h ro u g h E E G b l ee p s , s u s t a i n e d c y m ba l l i c h i s s a n d r a d i o a c t i v e b a s s g e n e r a t i n g t h e h o v e r i n g t e n s i o n o f J e rry G o l d s m i t h ' s Coma s o u n d t r a c k . Psyc h o p a t h o g e n e tics The uneasy inti macy o f a g l o a t i n g gynaecol o g i s t m e e t s the m i santhropic g l a re o f a r a b i d e c o l o g i s t t o fo r m D r O c t a g o n t h e G y n e c h o l o g i s t , t h e p l a n e t a r y p s y c h o p a t h o g e n . D a v i d C r o n e n b e r g d i a g n o s e s G y n e c h o l o gy a s ' a f u t u r e p a t h o l o g i c a l p s y c h o l o g y . I t ' s d ev e l o p i n g n o w b u t h e a n t i c i p a te s i t b e i n g e v e n m o re d e v e l o p e d i n t h e fu t u r e . H e t h e n b r i n g s i t b a c k t o t h e p a s t - n o w a n d a p p l i es i t a s t h o u g h i t e x i s t s c o m p l e t e l y f o r m e d . T h e s e c h a r a c t e r s a r e e x h i b i t i n g a p s y c h o l ogy o f t h e fu t u re . ' G y n e c h o l ogy s l a s h e s a n d h a c k s t h e o rg a n i s m , p u l l i n g ' o u t t h e s k u l l ' , c h i s e l l i n g ' n e c k s for t h e a n s w e r ' t o t h e b o d y w h o s e m a p p u z z l e s a n d b a ffl e s a l i e n s e v e r yw h e r e . T h e b o d y i s t h e q u e s t i o n . S u rg e r y p r o v i d e s t h e a n s w e r t o t h i s c e l l u l a r p l a n e t w h i c h s t i l l m y s t i fi e s t h e a l i e n s u r g e o n . F o r a e o n s , t h e b a d d o c t o r o b s e rv e s h u m a n s w i t h a c o m p o u n d e y e . ' I s t u d y a n d i n s p e c t p e o p l e ' : K o o l K e i t h a n d T h e A u t o m a t o r u s e H i p H o p to put h u m a n s u n d e r the m a c ro s c o p e . H i p H o p b e c o m e s a r e v e r s e m i c r o s c o p e , a s p e c u l a t i v e i m a g i n g s y s t e m i n v e n t e d b y C yc l o p s 4 0 0 0 < > S i r M e n e l i k for m a g n i fy i n g p e r c e p t i o n . T h e n t h e b a d d o c t o r m o v e s i n , r e a d y to ' o p e r a te o n p a t i e n t s , b e a rec t a l r e b u i l d e r . ' N e w t e c h n i q u e s o f ' i n t e s t i n a l s u r g e r y ' a n d ' s a l i v a g l a n d s r e l o c a t e d ' a c r o s s t h e o r i fices i n s p i re b r e a k t h r o u g h s i n t h e fi e l d that Tech n o a u d i t i o n a ry J e ff M i l l s terms basic human design.

03[04 5 ) I wo u l d j u s t m a te h u m a n s wi t h a llig a t o r s . H u m i n a g a t o rs Kool Keith Xe n o g e n e s i s The O c t a go n a l w o r l d is a b i o t i c l a n d s c a p e where bees f l y ' a ro u n d your rectu m ' . The d o c t o r doesn't r a p a t y o u , h e d i a g n o s e s , preocc u p i e d with h i s d e l i ca te i n c i s i o n s . H e > I t compels you to c r a n e yo ur ears towards t h e • o p e ra t i n g t a b l e to a u d i o v i s u a l i z e t h e c l i n k o f s ca l p e l s . I t ' s • • He's busy r e l o c a t i n g , s t u ffi n g a n d i n s e r t i n g p a t i e n ts ' w i t h the n eed l e a n d t h r e a d , se w i n g u p a l l the o t h e r b u t t c r a c ks . ' Loo k i n g a t ' n a ked p i c t u res ' o f T h e Fa n t a s t i c F o u r " s orange b r i c kworked T h i n g l e a d s the doctor to e x p l ore the new fro n t i ers o f D i s ney • • M arvel s e x . H e watches this c l o s e e n c o u n t e r a s ' the c a r t o o n D o n a l d D u c k ' g i v e s ' fe l l a t i o o n t h e f l o o r w i t h R e e d R i c h a rd s ' , t h e Fa n t a s t i c F o u r ' s v e n e ra b l e a n d e l a s t i c s c i e n t i s t . ' S o m e t i m e s , ' K o o l K e i t h h a s s a i d , ' I d o n ' t e v e n fee l l i ke I a m a h u m a n b e i n g a n y m o r e . I fee l I cou l d p u t m y s e l f i n t h e p l a c e o f a m a m m a l o r a n a n i m a l . ' D e p e r s o n a l i z a t i o n a l lows a n i d e n t i fi c a t i o n across t h e a n i m a l s p e c i e s , a cros s - s p e c i e s e m p a t h y . I n Octagon a l S o n i c F i c t i o n , dehumanizing = co m p l e x i fy i n g t h e h u m a n i n to a x e n o l i b i d i n a l e c o n o m y o f genes t r a de d on t h e o p e n m a r k e t . G y n e c h o l ogy o p e n s u p t h e a n i m a l · • h u m a n co n t i n u u m , b reed i n g t r a n s ge n i c s p e c i e s - s u c h a s M r G e r b i k , ' h a l f s h a rk - a l l i ga t o r , h a l f m a n ' . G y n e c h o l ogy r a p i d l y r u n s o u t o f c o n t r o l u n t i l g o r i l l a s a r e ' m a s t u r b a t i n g w i t h h u m a n s t r a n ge r s , l e ga l l y t h r o u g h c o u r t ' , w h i l e a n d r o i d s a r e ' l e a d i n g h u m a n s w i t h h a e m o rr h o i d s ' o n g o o s e c h a s e s a n d d u c ks h o o t s throughout Planet 3. O c t a go n a l P h o n o F i c t i o n exa m i nes t h e s e n s e s w i t h a s p e c u l u m . N o t s o m u c h a n e c o l ogy a s a gynaecol ogy o f t h e m i n d , i t u s e s s y n t a x a s pro b es i n s e rted t h r o u g h t h e n o s t r i l s , u p a n d o u t i n t o y o u r s e n s o ri u m . The perce p t u a l borders between a l i e n i d e n t i ty, h u m a n orga n i s m and orga n ized self c o l l a p s e i n to organs s l o s h i n g i n a b l oo d s o u p . O c t a g o n a d d re s s e s a l l ' E a r t h p e o p l e ' , s u b s u m i n g d i s t i n c t i o n s i n a g l o b a l i s m more t h r e a t e n i n g t h a n benevo l e n t . After t h e genoc i d a l prom i s e o f ' I w a s b o r n o n j u p i t er, ' Trad H i p H o p ' s m i s ogy ny fee l s l i ke happy t ra i l s , i ts d y s t o p i c m i s a n t h r o p y l i ke i n s t i n c t i v e tra ve l s thro ugh a g a d d a da v i d a . G y n e c h o l ogy doe s n ' t p r o t e c t s p e c i e s ; i t preys on t h e m , t a k i n g 'y o u t h e r e ' i n to t h e h u m a n zoo ' l i ke I w a s t h e Preda t o r . ' C o n t i n e n t s a r e z o o s , c o u n t r i e s a r e s a fa r i p a r k s a n d h u m a n s p r o v i d e

0 3 [ 04 6 ] e x c e l l e n t c u l t u r e fo r c r o s s p o l l i n a t i n g a c r o s s t h e m a m m a l i a n p h y l u m . N o t flow i n g b u t gloati ng, the locum becomes ' Doctor Ludicrous' who t u r n s ' i n to a n o c t o p u s ' a l l t h e m o r e ea s i l y t o ' g r a b 8 s p e c i e s ' a n d ' i so l a te l i ke a i n c u b u s ' . L i s t e n i n g t o D r Octagon f l a s h e s forwa r d s t o t h e a l i e n a b d u c t i o n y o u w i l l n e v e r h a v e . Yo u ' re b e i n g a l i e n h a n d l e d i n a n o p e r a t i n g t h e a t re o f c r u e l ty a n d k i l l i n g j o k e s : ' T h e p e r f e c t e n z y m e ' s m e w i t h y o u r b r a i n i n m y o t h e r h a n d . ' T h e a l i e n i n d u c e s t r a u m a s a n d k i l l s i t s p a t i e n ts w i t h i n s o u c i a n c e . D r O c t a g o n i s a s u rg e o n o u t to b u i l d a n e w n e r v o u s s y s t e m o u t o f y o u r a rc h a i c o n e . I t g i v e s y o u a s e a s i c kn e s s o f t h e h e a d . T h e I n h u m a n g e t s a c o n t a c t h i g h f r o m c r u e l t y . I t l i n ge r s o v e r o r g a n s w i t h a l o v i n g s e n s e o f d e ta i l , l o s e s i t s e l f i n t h e r a p t u r e o f d i s s e ct i o n , t h e joy o f getting to work o n a warm body. B o d d h iSativa Exp l o s i o n i n S l o w Moti o n : Cypress H i l l , T h e RZA , G raved i g g a z , S u n z of M a n O h man h o m ey, my mind is p layi n g tricks o n me Geto Boys Mythil logical H i p H o p h a s a l wa y s b e e n h e a d m u s i c . B u t t h e m o m e n t i t d r u g s i t s e l f, i t t u r n s i t s b a c k o n i m m i n e n t r e v o l u t i o n i n fa v o u r o f i m m a n e n t reve l a t i o n . T h e s t r e e t d i s s o l ve s i n t o t h e p s yc h o s o n i c geogra p h y o f g a n g s t a d e l i a . H i p H o p b e c o m e s a n i n n e r - s p a c e m u s i c . ' K e e p i n g i t re a l ' n o l o n g e r m e a n s r e p r e s e n t i n g , b e c a u s e t h e r e ' s n o d e f i n e d r e a l i ty l e ft t o r e p r e s e n t . K n o w l e d g e n o w m e a n s i n n e r s i g h t , w h i c h o v e rw h e l m s t h e t r u e / fa l s e b i n a ry. T h e s t r e e t ' s r i g i d b o r d e r b e t w e e n t h e rea l a n d t h e fa n t a s t i c m e l t s i n to t h e p s y c h o s p a t i a l t r e a c h e r y o f t h e ' 9 1 fi l m ja co b 's Ladder. T o r e a l l y gra s p m y t h i l l og i c a l H i p H o p i t ' s e s s e n t i a l t o r e n t A d r i a n Lyn e ' s v i d e o e p i c , i n w h i c h N e w Y o r k d i s s o l v e s i n to a d i a b o l i c a l s w a m p o f u n e n d i n g a u d i o h a l l u c i n a t i o n s a l l t h e s t r o n g e r fo r b e i n g u n s e e n .

03[047] I ' m h a vi n g illu s io n s , drivin g m e m a d in m y m i n d Cypress Hill 3 6 0' o f P e r i p h e r a l P e r s e c u t i o n Weed d e regu l a t e s t h e m e a n s o f p e r c e p t i o n , b r e a k s d o w n t h e w a l l s o f H i p H o p ' s fo r t i f i e d e g o . C y p r e s s H i l l ' s ' 9 2 i n s t r u m e n t a l Ultra violet Dreams m e l t s H i p H o p ' s m a r t i a l s e l f. P r o d u c e r Dj M u ggs ' fuzzy l o g i c of w i l t i n g b a s s a n d l o w - fr e q u e n c y l e a k a g e b l u r s a u d i b i l i t y , u n w i n d s t h e g a n g s t a l e a n i n to a w o o z y g a i t . V i g i l a n c e l o s e s fo c u s i n t h e w i t c h y , w h i s p e r y p s y c h o a co u s t i c s p a c e o f i n h a l a t i o n t u r n e d t r e a c l y t h i c k . Y o u w a n d e r t h r o u g h i t s s t r i a te d w r a i t h s c a p e , a m a l l e a b l e p o r o u s fl u x . Weed ' s d i l a t i o n e ffect m a ke s i t t h e t i m e - s tr e t c h e r . t h e n a r c o a g e n t w h i c h s l o w s d o w n t h e p e r ce p t i o n o f o bj e c t- e v e n t s . Dj M u ggs i s f a s c i n a ted b y t h e b u l l e t ' s t r aj e c t o r y , h o w a b o d y l oo k s from t h e g u n ' s pov, i ts s i g h t i n g l i n e . A s S l y S t o n e c r o a ked : ' lo o k i n g a t t h e d e v i l , gri nning a t h i s gun . ' A l l d r u g s i n te n s i fy p a r a n o i a . B u t We e d ' s s p ec i a l e ffe c t i s t o m a g n i fy t h e m i s p e r c e p t i o n i n h e r e n t i n e v e ry d a y h ea r i n g, t h e re b y t u n i n g H i p H o p i n to a p e r p e t u a l p a r a n o i a o f p e r i p h e r a l p e r s e c u t i o n . T h e e a r a l wa y s h e a r s a r o u n d c o r n e r s . G r a s s i n te n s i fi e s t h i s u n t i l rea l i ty b r e a k s u p i n to p ro l i fera t i n g a u d i o h a l l u c i n a t i o n s t h a t t r i gger t h e m s e l v e s a t 3 6 0. a r o u n d your h e a d . A t t h e e d g e s o f e a r s h o t s o u n d s launch themselves a t you. I n H i p H o p h e a d m u s i c , R . M u rr a y S c h a fe r ' s s c h i zo p h o n y h a s b e c o m e p r e m o n i t i o n a l . S o u n d s h a v e d e t a c h e d t h e m s e l ve s from t h e i r s o u rces a n d a re r e a c h i n g y o u b e fo re t h e i r c a u s e s d o . H e a r w h a t h a p p e n s w h e n s o u n d e ffe c t s go a m i s s . T h e y w a n d e r w i t h o u t a n o bj e c t . R u n n i n g a m o k w i t h n o c a u s e a t a l l , s o u n d e ffec t s g e n e r a t e e n v i ro n m e n t s o f o bj e c t l e s s ominousness and perpetu a l i m m i nence. Th e y t o o k a s o n o g r a m a n d s e e n t h e i m a g e o f a d e m o n Gravediggaz T h e I n t e r n a l M e c h a n i s m of P a r a n o i a c P h e n o m e n a D r i v e n b y p r e m o n i t i o n s , m y t h i l l og i c a l H i p H o p i s l i ke S a r a h C o n n o r i n The Termina tor, a l wa y s t a l k i n g i n t h e p a s t t e n s e a b o u t t h i n g s i t h a s n ' t yet done. T h e head i s fi l l e d with rev e l a t i o n s that i m pe a c h t h e d a y l i g h t . T h e R Z A ' s p h a n ta s m i c H i p H o p p r o d u c t i o n s i n d u ce v i s i o n s i n t h e e a r . E v e r y

03[ 0 4 8 ] b r e a t h b e c o m e s a w i n c e o f p a i n l i ke a k n i fe b e i n g sw a l l ow e d . E a c h s u c k o f t i c a l t u r n s i n t o a s h a r p i n ta k e , t h e s h u d d e r i n g g a s p o f s o m e o n e b e i n g h a c ked a t . I n M e t h o d M a n ' s Sub Crazy, from h i s R Z A - p r o d u ced ' 9 4 a l b u m Tical, u n a t t r i b u t a b l e g r o a n s r o a m a r o u n d , s u ffu s i n g e v e ry t h i n g i n a n u n l o c a ta b l e s ee t h i n g v i o l e n c e . A s Tri cky p o i n t s o u t , W e e d i s a s h o r t c u t to p s y c h o s i s . L i ke D r O c t a go n , R e d m a n ' s a l terego R e g g i e N o b l e s p l i ts o f f a n d b a t t l e s h i m s e l f, l i ke P e t e r P a r k e r vs S p i d e r m a n . N o i s e s a tt r i b u te t h e m s e l ve s to u n s e e n c a u s e s , m u l t i p l y t h e m s e l ve s i n t o i n v i s i b l e fo rc e s . The R Z A o p e n s u p t h e h y p e r p a r a n o i a o f a p o s t - jacob s La dder w o r l d , ' i n w h i c h i n a n i m a t e o b j e c t s c o m e a l i v e w i t h a n i n o r ga n i c m a l ev o l e n c e . f o r R e d m a n , p o s s es s i o n i s a p e r p e t u a l p o s s i b i l i t y : ' I b e l i eve y o u ' r e s u p p o s e d to b e a b l e t o m o v e s t a r s w i t h y o u r m i n d . T h e r e ' s m o t h e r fu c k e r s o u t h e r e t h a t c a n j u m p i n t o y o u r b o d y , p u t y o u r s p i r i t out, a n d you ' l l j u s t be wa l k i n ' a r o u n d New Y o r k u n seen w h i l e someone e l s e i s i n y o u r b o d y fuc k i n ' u p . ' Wo r s h i p t h e We e d I n ' 9 5 ' s Temple o f Boom, C y p r e s s H i l l w o rs h i p t h e d e s p o t W e e d . A l l t h o s e c l i p s o f p e a c h y - k e e n w h i t e s c h oo l ki d s f r o m t h e s o s o f t h e fi l m A tomic Cafe, h a n d s c l u t c h i n g t h e i r h e a d s , p r a y i n g to t h e B o m b . Ato m i c M us l i m s b o w i n g t o t h e M e c c a m u s h r o o m s i l e n t l y s c re a m i n g : ' M u t a te m e ! M u t a t e m e ! ' Weed b l ow s u p t h e h e a d , e x p l o d i n g rea l i ty l i ke a m u s h r o o m b o m b d e t o n a t i n g t h e m i n d , l i ke t h e u n d e rw o r l d m u t a n t s w h o w o rs h i p t h e n u c l e a r b o m b i n Benea th the Pla n e t of th e Apes. The US m i l i t a r y w a n t e d to b o m b ' N a m b a c k to the S t o n e A g e s . Wors h i p p i n g t h e H o l y Wee d , C y p r e s s H i l l wa n t to b o m b t h e i r m i n d s b a c k t o t h e M i d d l e Ages .

03[04 9 ] N o w I dwe ll i n a n I s l a m i c Te m p le/I ' m fig h ting a h o ly war in t h e m e n t a l Gravediggaz H o ly c o r e I s t h e B l i g h t of t h e Wo r l d W i t h G r a v e d i gg a z ' Diary of A Madman from t h e i r v i r u l e n t ' 9 4 c o n c e p t o x i c a l b u m Niggamortis, H i p H o p b r e a k s t h r o u g h i n t o t h e m y t h i l l o g i c o f t h e D a r ks i d e . I n t h e fi c t i o n a l s p a c e o f a c o u r t r o o m h e a r i n g , T h e G r a v e d i ggaz - p r o d u c e r s T h e U n d e r t a k e r < > P r i n c e Pa u l a n d T h e R Z A r e c to r < > T h e RZA, The G a t e k e e p e r ' Frukwan a n d G ry m R e a pe r ' • • Poe t i c - fa ce m u rd e r c h a r g e s . E a c h s t e p s fo rward t o e n t e r a n i n s a n i ty p l e a . E a c h v e r s e p r oj e c t s e x c e r p t s f r o m a m e t a - e x o rc i s m o n t h e s c r e e n o f y o u r m i n d . A wa l l o f g u i t a r c h i m e s o p e n s u p a s a m p l a d e l i c G o t h i c , a m o n a s t e ry o f t h e h e a d w h e r e ke e n i n g G re go r i a n c h a n t s t h r o w s h a d o w s a c r o s s s t o n e w o r k . The h e a d b e c o m e s a t h e a t r e fo r t h e w a r r i n g fo r c e s o f H e a v e n a n d H e l l . C o n s u m e d b y s p i r i ts a n d p o s s e s s e d b y v i s i o n s , c o n s c i o u s n e s s i s t h e c a s u a l ty i n t h i s ' h o l y w a r i n t h e m e n t a l ' . To s t r e s s t h i s w a r b e t w e e n s t a t e s o f m i n d , G ra v e d i gg a z ' p r o tege a n d g u e s t r a p p e r S h a b a z z t h e D i s c i p l e ' s t e r m f o r t h i s D a r ks i d e i s H o l y c o r e . L i ke i t s d o p p e l g a n ge r H o rr o r c o r e , H o l y c o r e b l i gh t s e v e r y t h i n g . I n s t e a d o f e n l i gh t e n i n g t h r o u g h e d u t a i n m e n t , i t t u r n s o u t t h e l i g h t o f t h e w o r l d , p l u n g e s t h e s ky i n t o w h a t S u n z o f M a n t e r m ' a m a g n e t i c f l u x b e y o n d c o n t r o l ' . As T h e R Z A ex p l a i n s , t h e D a rk s i d e o f H i p H o p i s a v e r s i o n t h e r a p y f o r d ro o gs a n a e s t h e t i zed b y t o o m u c h H i p H o p : ' H ea v e n a n d H e l l a re o n e a r t h . Th e y ' r e y o u r g o o d t i m e s a n d y o u r b a d t i m e s . T h e h o l y w a r i s t h e s t r u g g l e i n s i d e o u r h e a d s , t h e w a r fo r p e a c e . P e o p l e w a l k a r o u n d m e n ta l l y d e a d . I t ' s o u r d u t y to d i g u p t h e i r m e n t a l g r a v e s a n d b r i n g t h e m b a c k t o l i fe . ' Th i s s h o c k t h e r a p y f o r t h e s e n s or i u m p a ra l l e l s L u d o v i c o ' s ' l ea r n i n g b y t o r t u r e ' i n K u b r i c k ' s A Clock work Orange. The c o l d h u m o u r o f Dia/ 1-Boo Suicide i s a s c a r t o o n w h i c h b r i n g s t h e p a i n , r a i s e s w e l ts and draws b l o o d to freeze it. L i ke D r O c t a g o n and F u n k a d e l i c - r i g h t d o w n t o t h e h o m m a ge Mommy Wha t 's a Gra vedigga ? - t h e m y t h i l l o g i c a l h u m o u r o f G ra v e d i gg a z l a c e r a t e s m i n d s i n u r e d t o s e n s a t i o n , i n te n s i fi e s i l l ness i n order to sensitize.

03 [ 0 5 0 ] I c o n tain t h e s ci e n ce to m a k e a n a n g e l b le e d through h i s vision Sunz of Nan U ltra v i o l e t S u p e r c e pti o n T h i s i s a ft e r m a t h m u s i c fo r a w e a r y w o r l d s t o n e d i n to a s t u p e f i e d s u percept i o n . P u b l i c Enemy's war demanded hyperalert s o l d iers, the j a gged e d g e o f ' 8 9 ' s Black S teel i n the Hour o f Chaos. I n S u n z o f M a n ' s ' 9 5 Soldiers of Darkness, H i p H o p g i ve s i n to v i s i o n s , p l u n g e s i n to t h e w a k i n g n i g h t m a re s t h a t T h e B o m b S q u a d ' s a l a r m for t h e w o r l d t r i e d t o prev e n t : ' V i s i o n s o f m e o n t h e n i g h t o f a s o l a r ec l i p s e a bo a r d i n g t h e m o t h e rs h i p t a k i n g m y l a s t g l i m p s e from t h i s d e l u d e d e a r t h . ' E x t e r n a l w a r h a s b e e n i n te r n a l i z e d i n t o ' t h e d e p t h s o f m y i n n e r s i g h t ' o n l y t o s p i l l o u t b l urring the borders i n a psychoson i c storm. S u n z o f M a n b eg i n a t t h e p o i n t o f e x t r e m e e x h a u s t i o n , w h e n s o l d i e r s h a l l u c i n a te , s u ffe r f r o m c r i s i s a p p a r i t i o n s . W u Ta n g p r o d u c e r G e n i u s ' s ' 9 5 t r a c k Greyhound Part 2 Remix s t a rt s o u t a l re a d y e x h a u s t e d , d e fe a t e d , i t s t e m p o ·b a r e l y m o r e t h a n a t r u d g e , foo t s o r e . C a u g h t i n t h e a ft e r m a t h o f e x p l o s i o n , K i l l a h P r i e s t ' s v o i c e p e e l s i n s i d e o u t i n s l ow m o t i o n . H u r l e d i n to a w i n d t u n n e l o f d e l a y e d i m p a c t , vowe l s b u c k l e a n d groa n , c o n s o n a n t s g u s t i n p h o n e m i c d e b r i s t h r o w n o ff b y a d i s ta n t d e to n a t i o n . W h e ez i n g groa n s i n t e n s i fy t h e s e n s e o f o v e r w h e l m i n g fa t i g u e . Greyhound Part 2 i s a l o n g m a r c h , a t r e k e x t o l l e d b y c h i m e s h e a r d t h r o u g h s m o ke , t ra n s i e n t t o n e s o f t i n t i n n a b u l a t i o n . F l u te s , t r u m p e t s , g u i t a r a re fa t i g u e d , w i n d e d . A b o n e w e a r y ' y e a h ' e s c a p e s f r o m s o m e o n e ' s t h r o a t . G rego r i a n c h o ra l e s t r e t c h e s i n t o h i ve n o i s e . T h e m o a n s o f p e r v e r s e m o n ks i m b u e e v e r y t h i n g w i t h a c l o i s t ered m a l e v o l e n c e . H a u n te d - h o u s e v i o l i n s cyc l e i n to s te a d y m i c r o p o l y p h o n a l s w a r m s a t o n ce h a l l o w e d a n d d o l or o u s . S o l d i e r s h a l l u c i n a t e c e l e s t i a l v i s i ta t i o n s o n t h e S o m m e i n WW 1 : ' I w a s s h o w n t h e c r u c i f i x i o n b y 2 Egyp t i a n s / A w a r i n h e a v e n , I s a w C h r i s t w i t h a M a c 1 1 / S o I j o i n e d h i m a n d p r e p a r e d for A r m a ged d o n , A r m a ge d d o n , A r m a g e d d o n . ' D e c a p i t a t e d M C s w a n d e r l i ke w r a i t h s t h ro u g h t h e w a r z o n e o f H e a d l e s s H i p H o p . B r o n t o s a u r i a n b a s s s ta l ks a b a t t l e f i e l d s c o r c h e d b y b l a s t s o f m e ga l i t h i c g u i t a r fee d b a c k . H i s v o i c e s l owed d o w n t o a g r o a n , K i l l a h P r i e s t i s a h e a d l e s s M C rec i t i n g from b e y o n d t h e g r a v e .

03[0 5 1 ) All t h i s s e e m s t o b e a n exorcis m t o m a k e o u r de m o n s flo w Antonin Artaud The P r i e s t s Wi l l S o o n Swa r m T i m e fe e d s fo r w a r d i n t o t h e n ew D a r k A g e s . E a c h t i m e t h e I n n e r M i n d ' s E y e b l i nks, i t puts out the s u n . I n Revel ations, the Son o f M a n i s H e a v e n ' s h i red a s s a s s i n , p u t t i n g s i n n e r s to t h e s w o r d o n J u d g e m e n t D a y . M u l t i p l y i n g t h e S o n o f M a n i n to t h e S u n z o f M a n - d r a m a t u r g i s t K i l l a h Priest, voca l ists 6znd Assas s i n , Prod igal S u n n , H e l l Raza h , producer 4th D i s c i p l e - b l a ze w i t h a s o l a r fa n a t i c i s m . T h e y a re G o d ' s A v e n g e r s , ' s o l d i e rs o f i d o l a t r y fi g h t i n g t h e s i n s o f r e a l i ty . ' E a c h 1 2 r e s c o res Rev e l a t i o n s a s a u d i t i o n a r y S o n i c F i c t i o n , a W a r i n Heaven w i t h a l l fa c t i o n s d e s p e r a t e t o m a i n t a i n c o n t ro l . T h e E a r t h i s t h e i r d e e r p a r k a n d y o u a re i ts fa w n s . S u n z o f M a n a r e n o t h u m a n s o m u c h a s d e v o u t e x t e r m i n a to r s , ' t h e u n i ve rs a l w a r l o rd ' : C o rtez w i t h a K a l a s h n i ko v M 1 6 . T h e y a re A r m a g e d d o n a c c e l e r a t o r s i n f l a m i n g t h e s e n s a t i o n s t h e y d e p l o r e , w h o ' c a m e toge t h e r fo r o n e a c c o r d ' , t o d r e a m o f g e n oc i d e fo r J e s u s : ' H ea rk e n . A s t h e n i g h t d a r k e n s , y o u ' ve b e e n w a r n e d t h a t t h e p r i e s t s w i l l s o o n s w a r m . ' V i s i o n s o f p r i e s t s s p re a d i n g t h e i r c l o a k s a n d s w a rm i n g o v e r O k l a h o m a , s e a rc h i n g for u n b e l i e v e r s to p u t t o t h e sword a n d ' b e d o n e a w a y l i ke t h e u n i c o r n ' . K i l l i n g i s p r a y i n g , t e r r o r i s fa i t h , m u rd e r i s h o l y . K i l l a h P r i e s t w a r n s o f t h e ' s i d e e f fe c t s ' o f w a r w h i c h ' b r i n g t h e g l y c o s i s ' u n t i l ' i n s a n i ty e n t e r s h u m a n i ty , i n va d e s t h e c e n t r a l n e r v o u s s y s t e m . ' A b r u p t l y h i s v o i c e s l u r s a n d s l i d e s i n to g l o s s o l a l i a , b e c o m e s a n u r ge n t g i b b e r i s h o v e rw h e l m e d , j a c kn i fed by a v o l u p t u o u s s w o o n n e v e r h e a rd i n H i p H o p b e f o r e : ' t h i s t e c h n i q u e i s s o a a a h , a a a h - ' a n d H i p H o p ' s voicearmour is overcome by the warga s m . R ee l i n g from t h e fo rce o f r e ve l a t i o n , h e r e c o u n t s h o w ' th e 4 r u n t o t h e 4 c o r n e r s o f t h e e a r t h a n d t h e 5 t h r u n i n to t h e s u n . ' I n a d a z e d a c c a pe l l a , K i l l a h P r i e s t , t h e a n n i h i l a t o r , i s p i e r c e d b y ' a l i gh t be a m ' u n t i l h e r e c o l l e c t s h o w h e ' w a s fo r m e d i n a w h i t e d r ea m . ' K i l l a h P r i e s t d o e s n ' t s o m u c h r a p a s i n c a n t o r i n vo k e i n a n i n q u i s i to r i a l t o n e . R e v e r b s n a t c h e s h i s v o i c e t o t h e a l c o v e s . H e ' s To rq u e m a d a a t M i l l e n n i u m ' s E n d , t h e fi n a l d e s p o t w h o c o m m a n d s y o u t o ' b r i n g t h e w i c ked b e fo r e m e a n d s l a y t h e m b e fo r e m y fe e t . ' T h e re ' s n o d o u b t t h a t t h i s fa n a t i c a l a n t i - a b o r t i o n i s t w a s t h e r e a t t h e b u r n i n g o f S o d o m and G o m o r r a h , bom b i n g the bathhouses, torch ing the c l u b s .

03[0 5 2 ] Fi ve A rch A ngels i s t h e s c o r e for A Can ticle for L eibo wi tz i n w h i c h t h e w o r l d n u kes i t s e l f b a c k to a M i d d l e A g e s r u n b y Tec h n o - m o n k s . I n t h e w a k e o f The S o n g i s a w r a i t h l a n d o f s w a r m i n g d r o n e s , i n fe r n a l s i g h s , d i s e m b o d i e d m o a n s a n d m a g n i fi e d b r e a t h i n g . So m e t h i n g o u t s i d e h a d to e n t e r, s o m e t h i n g wh ich we o u r s e l v e s wo uld be u n a b le to b u ild Philip K. Dick 3 r d Eye C a p t u re T r i cky, T h e R Z A a n d K i l l a h P r i e s t a re a l l i n fa t u a t e d w i t h t h e d o r m a n t p o w e r s o f t h e 3 r d E y e . I n R a k i m ' s l s l a m a t ro n i c fi c t i o n , R a m m e l l z e e ' s a n d S h o c k D e l l ' s c r y p t o m a c h i n e a n d K i l l a h P r i e s t ' s p s y c h o a co u s t i c D a r ks i d e , t h e 3 r d Eye i s a s e c r e t fa c u l ty t h a t s c a n s t h e n o n v i s i b l e s p e c t r u m for r a d i o , u l tr a v i o l e t , d a e m o n i c , a c o u s t i c w a v e fo r m s . P re c i s e l y b e c a u s e m e d i c a l s c i e n c e d o e s n ' t k n o w i ts fu n c t i o n , t h e p i n e a l g l a n d a t t r a c t s e s o t e r ro r i s t t ra d i t i o n , w h i c h a r g u e s i t ' s rea l l y t h e 3 r d E y e , t h e d o rm a n t I n n e r M i n d ' s E y e , a n a r c h a i c p o w e r t h a t P h i l i p K . D i c k s u g g e s t s i s o p e n e d by m e d i t a t i o n : ' W e re l i n q u i s h e d t h e 3 r d E y e , o u r p r i m e ev o l u t i o n a r y a t t r i b u t e . T h e n i t ' s t h e 3 r d E y e t h a t g e t s u s b a c k o u t o f t h e m a z e . T h a t ' s w h y t h e 3 r d E y e i s i d e n t i fi e d w i t h go d - l i ke p o w e r s o r w i t h e n l i gh t e n m e n t , i n E g y p t a n d i n I n d i a . The 3 r d Eye h a d t o be reopened if w e w e r e t o g e t out o f t h e m a z e . . . but s i n c e w e n o l o n ge r r e m e m b e r e d t h a t we h a d t h e eye o f d i s c e r n m e n t , w e c o u l d n o t go a b o u t seeking techn iques for reopen i n g i t . Something outside had to enter, s o m e t h i n g w h i c h we o u r s e l v e s w o u l d b e u n a b l e t o b u i l d . ' E f f r a m W o l f ' s w a t e r c o l o u r s l e eve for S t e v i e Wo n d e r ' s Jnnervisions s h o w s a n o c h re­ a n d - b r o w n o p t i c r a y b l a s t i n g out o f h i s c l o s e d ey e l i d , a fi e l d of vegeta t i o n a l v i s i o n s e a r ch l i g h t i n g t h e s t r a t o s p h e r e l i ke The X - M e n ' s C y c l o p s g o n e b o ta n i c a l . W o n d e r ' s p l a n ts i g h t t r i gg e r s a n e c o - o p t i c s o f t h e M i n d ' s E y e . A n d F u n k a d e l i c a re t h e a r o m a n a u t i c i s t s o f p e r c e p t i o n , s e t t i n g o f f h a rro w i n g h a l l u c i n h a l a t i o n s o f t h e M i n d ' s N o s e .

03[053] Boll Weevil Com puter B ra i n : F u n ka d e l i c Th e b ra in is a p o p u la ti o n Deleuze a n d Guattari Lys e r g i c E q u a t i o n f o r t h e F u n k a t i z e d P s y c h e Funk • LSD = F u n k P s y c h ed e l i c i z e d = P s y c h ed e l i a F u n ka t i z e d = Funkadel ia, a s M a n u e l De L a n d a ex p l a i n s : ' W h e n y o u t r i p y o u l i q u e fy s t r u c t u r e s i n y o u r b ra i n , l i n g u i s t i c s t r u c t u r e s , i n t e n t i o n a l s t r u c t u r e s . T h e y a c q u i re a l es s v i s c o u s c o n s i s t e n c y a n d y o u r b ra i n b e c o m e s a s u p e r c o m p u t e r . I n fo r m a t i o n r u s h e s i n to y o u r b ra i n , w h i c h m a ke s y o u fee l l i ke y o u ' re h a v i n g a reve l a t i o n . B u t n o o n e i s revea l i n g a n y t h i n g to y o u . I t ' s j u s t s e l f o r ga n i z i n g . I t ' s h a p p e n i n g b y i ts e l f. ' L S D g e n e r a t e s a F u n k a d e l i c L i q u i d C o m p u te r , t h e fu n ka t i z ed p s y c h e t h a t rec h a n n e l s a n g e r from t h e s t r e e t i n t o a l t e r n a t i ve s t o rea l i ty . I m p e a c h the U n iv e r s e F u n ka d e l i a i m p e a c h e s t h e u n i v e r s e , c o n fr o n t s rea l i ty , s e t s o u t to d e s t r o y a n i n s a n e w o r l d o v e r a n d o v e r . B a c k i n h i s m i n d a g a i n a ft e r t r i p p i n g o u t , G e o rge C l i n t o n r e a l i z e d t h a t ' I c o u l d g e t m a d e n o u g h a t t h e w o r l d a n d h o w i t w a s trea t i n g p eo p l e t o w a i t i n a n a l l e y a n d k i l l s o m e m u t h a fu c k a . B u t t h e r e a i n ' t n o w i n n i n g i n a s i t u a t i o n l i ke t h a t , so o n c e we g o t o u t o f t h e r e I ' d t a ke a c i d t o m a ke s u re I d i d n ' t g e t t h a t m a d n o m o r e . I ' d s t a rt l o o k i n g a t , y o u k n o w , a l te r n a t e rea l i t i es . ' A c i d ' s i n fo r m a t i o n s u p e r n o v a b l ows u p t h e e g o . H e n c e t h e d o t o f t h e ' i ' i n t h e F u n ka d e l i c l o go i s r e p l a c e d by P e d r o B e l l ' s g r i n n i n g a p e - s k u l l , t h e G r a tefu l D e a d l o go g o n e l o c o . T h e g l o b e m u s h ro o m s o u t o f i ts c ra n i u m i n a p l a ne t - a n n i h i l a t i n g , w o r l d - fo r m i n g e x p l o s i o n . F u n ka d e l i a i s n ' t a n e s c a p e i n to o t h e r w o r l d s , b u t a d e a t h t r i p i n t o t h e h a l l u c i n o g e n res o f L S D a n d t h e s u p e r p s y c h ed e l i c STP. A s j a y S t e v e n s d e s c r i b e s t h e S T P t r i p : ' D e s c r i p t i o n s o f i t s o u n d e d l i ke w a r s t o r i e s , p e o p l e e x p l o d i n g t h r o u g h t h e e n v e l o p e a n d b u r n i n g , o r fi l l e d w i t h a c o l d wind that wou l d n ' t stop b lowing through the h o l lows o f their m i n d . ' W h i c h d e s c r i b e s t h e F u n k a d e l i c a u d i o e x p e r i e n c e very e x a c t l y . A c i d o p e n s a c a t a c l y s m i c c o n t i n u u m b e t w e e n V i e t n a m , D e t ro i t a n d O t h e r P l a nes of There.

03[ 0 5 4 ] T h e Lo g i c o f C a t a s t r o p h e I n Wars of A rm ageddon, t h e w o r l d i s a n n i h i l a t e d b e fore y o u r very e a r s i n a logic t h a t ] . G. Ba l l ard e l a borates: 'The catastrophe represents a c o n s t r u c t i v e a n d p o s i t i v e a c t of t h e i m a g i n a t i o n , an a t t e m p t to c o n fr o n t a p a t e n t l y m e a n i n g l e s s u n i v e r s e b y c h a l l en g i n g i t a t i ts o w n g a m e , a n a t t e m p t to d i s m a n t l e t h e fo r m a l s t r u c t u re o f t i m e a n d s p a c e w h i c h t h e un iverse wraps around us . ' To b e fu n ka d e l i c i ze d i s n o t t o r e t r e a t b a ck i n t o t h e m i n d b u t t o e x t e r n a l i z e t h e m i n d ' s fe a r s , e x p a n d t h e m u n t i l t h e l i s t e n e r s w i m s t h r o u g h a u n i ve r s e b r i m m i n g o v e r w i t h c o s m i c s l o p , v a g i n a l d i s c h a rg e . The fo r m a l s t r u c t u re o f t i m e c o l l a p ses i n t o s w i l l . S p a c e l o s e s i t s d i g n i ty, fa l l s k n e e d e e p i n t o t h e s h i t o f t h e w o r l d . F u n k a d e l i a i n t e n s i fi e s t h e o s m o s i s o f f u n k , a m p l i fi e s i t s i m p e r c e p t i b l e a ro m a . Osmium, Pa r l i a m e n t ' s ' F u n ka d e l i c ' s '70 d e b u t , i s n a m e d for the h e a v i e s t , m o s t • p u n g e n t m e t a l o n E a r t h . R o c k p l u s a r o m a c o n verge i n w h a t t h e R Z A t e r m s heavy menta l m u s i c . Because humans have no nose l i d s , they're d e fe n c e l e s s fro m r h i n a l a t t a c k . F o r m l e s s a n d p o i n t l es s , fu n k a d e l i a t h e r e fo r e i nv a d e s t h ro u g h t h e n o s t r i l s a n d s e e p s t h r o u g h t h e n e r v e s , s e t t i n g i n h a l a t i o n a t w a r w i t h t h e b o d y . You b r e a t h e i n t h e p u t r e fa c t i o n o f t h e u n i v e r s e . ' We c a n ' t c l e a n u p s h i t o r get s h i t r i g h t u n t i l w e recogn i z e w e g o t m a gg o t s i n o u r b r a i n , t h a t a n y s i t u a t i o n we m a ke w i l l be r o t t e n because t h e a t t i t u d e w e ' r e u s i n g i s a l re a d y p o i s o n e d . ' F u n ka d e l i c s h a res t h e fa l l a n d m a ke s a fr i e n d o f fea r : ' We t o o k t h e b l a m e for s h i t . S l y w o u l d s e e i t s l i g h t l y. Ye s , M r S t e w a r t h a d t h e fe a r a n d co u l d a c c e p t t h e u g l i ne s s , a n d h i s s h i t w a s so p r o fo u n d t h a t y o u a l wa y s t h o u g h t h e w a s t a l ki n g about you . ' Th o u g h t i s b io - lo g i c a l o r d o e s n o t exis t Rene lfenil C h a o s m i c K e m i s t ry F u n k a d e l i a o p e n s a b i o l o g i c o f t h o u g h t , a p h y s i o l o gy o f p e r c e p t i o n . Mind, s o u l , universe: the o l d , o l d worlds of Trad sensory deprivation are s u d d e n l y m a t e r i a l i z e d , gra t u i t o u s l y o ra l i z e d . C o n c e p t s a r e fo n d l e d a n d l i c k e d , s u c ke d a n d p l a y e d w i t h . I n ' 7 o ' s Wha t I s Soul t h e F u n ka d e l i c , Al ien arrives on E a r t h : ' Behold, I Am Funkad e l i c , I Am N o t of your Wo r l d / B u t fea r m e n o t , I w i l l d o y o u n o h a r m / Lo a n m e y o u r fu n ky m i n d , So I c a n p l a y with i t . ' L i k e G a la c t u s t h e p l anet-swa l lowing g o d o f the

03[0 5 5 ) M a rv e l u n i v e r s e , t h e F u n k u l a to r l i ves b y c o s m o p h a g y , t h e p h i l o s o p h i c a l r i te t h a t S u s a n S o n t a g e x p l a i n s a s ' t h e e a t i n g o f t h e w o r l d . ' T h e n o s e k n o w s t h a t t h e m i n d i s f o o d f o r t h e m a g g o t s . Mommy Wha t 's A Funkadelic ? o p e n s w i t h C l i n t o n d r a w l i n g d e m o n i c a l l y ' I f y o u w i l l s u c k m y s o u l I w i l l l i c k y o u r fu n k y e m o t i o n , ' w h i l e Maggot Brain c i rc l es a r o u n d t h e c os m i c b u m m e r : ' I h a v e t a s t e d t h e M a ggots i n t h e M i n d o f t h e U n i v e r s e . ' H e r e a u n i ve r s e i s s m a l l e n o u g h t o ro l l o n t h e t o n g u e : m e t a p h y s i c s d e s u b l i m a te s , s w a p s s h a p e s w i t h a m o u t h a s w i d e a s t h e c o s m o s w h i c h s p i t s o u t t h e s o u l i n a n e n d l e s s we l l o f p h l eg m . U n i t e d M u t a t i o n s o f A m e rica F u n ka d e l i c e n l i s t s y o u o n t h e s i d e o f y o u r d a r k e s t fe a r s b y t a p p i n g i n to t h e t o x i c d r i ve s o f t e c h n o l o g y . Maggo t Brain ' c o u l d s c a re y o u to d e a t h . ' T h e i n s i d e s l eeve a rt w o r k o f ' 7 2 ' s A m erica Ea ts I ts Yo ung s h o w s t h e S t a t u e o f l i b e r t y w i t h b l o o d s t a i n e d fa n g s s n a c k i n g o n b a b i e s . I n Eulogy and Ligh t, t i m e s l i p s b a c k w a r d s i n to w h a t C l i n t o n w i l l l a t e r t e r m a b a c kw a s h p s y c h o s i s , a t e r ro r i d e i n to t h e A l t e r e d S t a te s a n d U n i te d Mutations of America. Cyborga nographics P e d r o Be l l ' s g a t e fo l d s l eeve a r t f o r t h e ' 7 3 - ' 7 6 a l b u m s Cosm ic Slop, Standing on the Verge o f Ge tting It On, L e t 's Take It to the Stage, Ta les o f Kidd Fun kadelic a n d Ha rdcore jollies v i s u a l i z e s fu n k a d e l i a as a n o r g a n o g ra p h i c S o n i c F i c t i o n . F u n k a d e l i a b e c o m e s a n a p pa l l i n g c y b o r g a n o g ra p h i c s . A t t h e o t h e r e x t r e m e from Kra ft w e r k ' s s e a m l e s s m e n s c h m a c h i n e , t h e fu n k c y b o r g s p i l l s i ts g u t s i n a d i a b o l i c a l c h a o s o f p u s t u l a t i n g ' n a s t y n es s ' . F r o m ' 7 3 ' s Cosmic Slop o n w a r d s , e a c h F u n k a d e l i c s c a r t o o n - a c a r t o o n t h a t l ea v e s s c a r s , i n B e l l ' s d e fi n i t i o n - revea l s e p i s o d e s from a p r o l o n ge d E c o R a p e o f M o t h e r E a r t h , w i t h h e r m a gg o t h a i r, s l i t t e d e y e s , p o i n te d i n c i s o r s . F e l t - t i p p e d i n te s t i n e s e m e rge from t h e g i a n t M o t h e r f i g u r e , e n tra i l s e s c a p i n g from the b o d i l y i n co r p o r a t i o n t h a t t h e d i g i t a l m a te r i a l i s t N i c k L a n d t e r m s t h e h u m a n s e c u r i t y s y s t e m . D i ge s t i v e t r a c t s , c r e e p i n g u m b e l l i fo r m s , o r g a n s w i t h o u t b o d i e s m o r e s l i meware t h a n wetware s l i ther through space, s q u i s h i n g over m a g a z i n e co l l a g e s . A l i m e n t a r y c a n a l s m e r g e w i t h m a gg o t s to b e c o m e u n i d e n t i fi a b l e d r i p p i n g m a t te r o oz i n g g l o b u l e s o f g o o . A l i e n s r i ve t e d t o g e t h e r f r o m s t e e l p l a te s w i t h j i gs a w - p u z z l e s h a p e d o u t l i n e s w h e r e o r g a n s s h o u l d be s l i d e a l t i m e t e r s from c o l d to h o t . F u n ka d e l i a i s t o t a l d i s - o rga n i z a t i o n , t h e d i s c o n ce r t i n g s l u rp y s l ew o f c y b o rga n s g o n e a w o l

03[056] i n a u n i ve r s e o f s o m e o n e e l s e ' s i n s i d e s . P e d r o B e l l ' s e m e t i c p h a r m a d e l i a w a n t s y o u to v o m i t i n g e s t e d e m o t i o n , b e l i e fs s w a l l ow e d a n d i m pa c t ed i n to b o l i . T h e c o n c e p t o x i c l a n d s c a p e m a ke s y o u s i c k t o make y o u b e t t e r . F u n k a d e l i a g e n e r a t e s a g l o b a l h e a d , a n ego t h a t e x p l o d e s i n t h e a t o m i c c h a i n re a c t i o n . T h e d e t o n a t i n g ' i ' i n F u n ka d e l i c ' s l ogo i s a tmospheroceph a l i c i n Da t i 's sense; i t p u t s t h e externa l world ' i nto the s e r v i c e o f t h e rea l i t y o f o u r m i n d ' . I n t h e i n fo r m a t i o n fa l l o u t o f t h e s a m p l a d e l i c e r a , T r i c ky d e s i g n s a s c a t t e r b r a i n w h i c h t h i n ks b o m b l i ke . J e ru t h e D a m aj a a ' s e q u a t i o n for s c a t t e r s h o t t h o u g h t is ' m y b r a i n C 3 H5 N3 0 9 l i ke n i t r o g l y c e r i n ' . Chase Thro u g h the H e a d p h o n e s : Tricky E q uipp e d with c o n t r a d i c t o ry visio n s , a n u g ly h a n d cag e d i n p re t ty m e t a l, I o b s e rv e a n e w m e ch a n iq u e . I a m t h e wild m a ch inis t , p a s t d e s t roye d , r e co n s t r u c t i n g th e p re s e n t Samuel R. De lany A b d u c t e d by A u d i o You v a l u e t h e m o m e n t a ry s a m p l e b e c a u s e i t a b d u c t s y o u . Leve l s f l u c t u a t i n g o n t h e p h o n e l i n e i n A bbaon Fa t Tra cks, t h e m o t h e r w h i s p e r i n g ' C a n y o u f l y fa s t a s y o u c a n to b e w i t h J es u s ' : a l l t h i s i s a w i n d ow o p e n i n g i n t i m e , s o u n d fa l l i ng i n to y o u r m i n d , 0 . 5 s e c o n d s o f processed v i d e o s i gn a l c a p t u red from a n u n kn o w n 5 0 s t v fi l m s e t i n a n i m a g i n a r y 4 0 s . S a m p l i n g a l l o w s a way o f c o l l a p s i n g a l l e r a s o f b l a c k m u s i c o n t o a c h ip G r e g Tate The A n a c h r o n i z e r T h e s a m p l e w o r k s l i ke t h e s c e n e i n N i c R o e g ' s ' 7 6 The Man Who Fell to Earth, w h e r e T h o m a s N e w t o n s e e s t h e 1 8 t h C p e a s a n t s t h ro u g h t h e y e l l o w o f c e n t u r i e s w h i l e t h e y s e e a w h i te R o l l s , s u ffu s e d i n b l u e , c r u i s i n g t h r o u g h fa r m l a n d . I w o u l d t h ro w a w a y a c e n t u r y o f m o v i e s for

03(057] t h i s a n a c h r o n i c m o m e n t - when the 1 8 th a n d 2 o t h Cs i n f i l trate each o t h e r, c r o s s fa d i n g i n t o t h e t i m e M i l e s c a l l s y e s t e r n o w . T h e s a m p l e r i s t h e u n i v e rs a l i n s t r u m e n t , t h e i n s t r u m e n t t h a t m a ke s a l l other in struments. T h e s a m p l e r operates j u s t l i ke t h i s R o e g s e q u e n c e o r l i ke t h e m u s i c heard i n I s h m a e l Reed ' s Egypt A D ' 7 2 : ' A m i x t u r e o f S u n Ra a n d J i m m y Reed p l a yed in t h e n i g h tc l u b d i s tr i c t o f a n c i e n t Egyp t ' s "The D o m a i n o f O s i ri s " . ' I t ' s a n a n a c h ro n i z e r t h a t d erea l i zes t i m e : a s n a r e from ' 6 9 M i c h i g a n U n i te d S t u d i o s , a d u e t o f t h e B o m b a y S t u d i o O r c h e s t r a f r o m '72 o n L e d Z e p p e l i n ' s Friends w i th g u n s h o t s m o d u l a te d f r o m a C CTV c l i p t o v i d e o s ta t i c from a ' 6 3 Z D F d o c u m e n ta r y o n D o g o n c o s m o g r a m s t o t h e s h r i e k o f J e r ry G o l d s m i t h ' s V a r e s i a n a r r a n g e m e n t s fo r t h e Pla n e t of th e Apes s o u n d tr a c k . Yo u ' re a bd u c t e d i n t o t h i s w o r l d , d i s t r i b u te d a l o n g i t s d i m e n s i o n s b u t t h i s w o r l d l e a n s i n to y o u r s . S a m p l a d e l i a i s b o t h t h e rea l i ty - e ffect o f s a m p l e s y o u r e c o g n i z e a n d t h e O r i g i n U n kn o w n e ffect o f s a m p l e s y o u d o n ' t . T h e s e U n i d e n t i fi e d S o n i c O bj ec t s c a n s u d d e n l y s u b s t i t u t e t h e m s e l v e s f o r t h e w o r l d , e c l i p s i n g i t , o r p ha n i n g y o u , w a s h i n g y o u u p o n i t s s h o r e s . T h e re ' s a p o w e r fu l s e n s a t i o n o f d e l e t i o n a s s a m p l e s t r i g ger s u c c e s s i v e w a v e s o f s y n t h e t i c d e fa m i l i a r i za t i o n . T h e s a m p l e r - w h i c h i n c l u d e s t h e v c r a n d t h e a n s a fo n e - i s a m a c h i n e for d erea l i z i n g s o l i d s t a te s o u n d s . S a m p l a d e l i a i s t h e s t a te o f b e i n g overc o m e b y 2 0 s e c o n d s o f s o u n d . Motion C a p t u re T h e B r e a k b e a t fu n c t i o n s by c u t t i n g i n t o t h e t r a c k . I t o p e r a t e s a s M o t i o n C a p t u r e , r u t h l e s s l y d i s c a r d i n g T h e S o n g , b l a t a n t l y d i s re g a r d i n g o r i g i n a l i n te n t . I n d i ffe r e n t t o t r a d i t i o n , t h e B r e a k b e a t s a c r i fi c e s t h e past to the now. S t r i p m i n i n g t h e s o u rce d r a w s a t t e n t i o n t o t h e P a r l i a m e n t a r i a n o r t h e S e rge G a i n s b o u r g a r c h i v e , b u t t h e s a m p l e r fu n c t i o n i s a s p r e d a t o r y a s i t i s r e s p e c t fu l . S a m p l e r m e m o r y d e t e r m i n e s t h i s a s a r u l e for a l l s a m p l a d e l i a . T h e s a m p l e r i n s i s ts y o u k n o w w h a t s o u n d s y o u l ov e . I t i m po s e s y o u r s e n s u a l s a t i s fa c t i o n o n y o u a s a c o n d i t i o n o f i ts m e m ory c a p a c i ty. Yo u ' re forced to e x t e rn a l i z e y o u r t a s t e . Every s a m p l e i s a r e p o r t o n " from t h e i n t e r n a l s t a t e o f y o u r s e n s o r i u m . y o u r p e rs o n a l s e l e c t i o n a m p l i fi e d i n t o a g l o b a l m e m o r y b a n k .

03[0 5 8 ] Y o u A re a H a b i t f o r m D i g g i n g i n t h e c r a t e s m e a n s b e co m i n g a s a m p l e fi n d e r , h u n t i n g t h e i g n o red a u d i o z o n e s , l i s t e n i n g t o t h e wo r l d , c h a s i n g d o w n t h e re m n a n t , t h e i n d i ffere n t / u s e l es s o r i g i n a l t r a c k . L i s t e n i n g t o t h e b r e a k s f l a re u p from t h e u n fa m i l i a r t r a c k , e a c h s a m p l e recogn i z e s y o u . H e a r d i n i t s u n kn o w n o r i g i n a l , t h e b e a t b e c o m e s a M o t i o n C a p tu r e r t h a t s e i z es y o u r s k i n m e m o ry, f l a s h b a c k s y o u r fl e s h . E a c h s a m p l e i s a n a u r a l c a m e ra w h i c h revea l s y o u a s a C l i n t o n i a n h a b i t fo r m , t h e o r ga n i s m fo r m e d b y h a b i t . T h e s a m p l e , a w i n d o w i n t o p s y c h o a ffe c t i v e t i m e , e x p o s e s a n d e x t e r n a l i z es t h e i n s t a m a t i c m e c h a n i s m t h a t i s y o u r i n n e r m o s t t a s t e . I t r e t ro a c t i va te s a l l t h e t i m e s t h e n e e d l e d r a w s y o u t o d r o p i t o n t h e g r o o v e . I t revea l s t h e s p o n t a n e o u s y o u a s a s e r v o m ec h a n i s m o f t h e p l a y b a c k fu n c t i o n , c o m p e l l e d to l o a d t h e c d , p r e s s t h e r e m o t e , l i ft t h e n e e d l e o ff t h e r u n o u t groove . I t reve a l s t h e i n t i m a t e i n terface b e t w e e n y o u a n d t h e t u r n t a b l e , m a ke s a u d i o v i s u a l t h e m a c h i n e ' s v i e w o f y o u . H e a r i n g t h e o r i g i n a l r e c e d e i n t o u n re c o gn i za b i l i ty reverses t h e Breakbeat procedure. Time turns back, returns you to a l o ng-gone world i n w h i c h D J K o o l H e r e n e v e r i nv e n t e d t h e B r e a k b e a t . H e a d s p a c e is t h e g e o g ra p h y o f t h e m i n d wh i c h c a n b e re ach e d by n o tele scope R . M u rray S c h a fe r Subtract the Song A ga i n s t p o p ' s p r e s e n c e , i t s rea l t i m e v o i c e , d u b a s s e r t s t h e l o g i c o f t h e d r o p o u t , t h e s o n g ' s g r a v i t y b e i n g p l u n ged i n t o a y a w n i n g c h a s m , o f s p a c e a s a n i n v a s i v e force o n t h e s o n g , x - r a y i n g t h e s o n g s t r u c t u re , d i sembodying the song, d i stributing its traces, hunting the ghosts of s o n i c t e x t u r e s . D u b i s t h e n t h - d e gree w a r p fa c t o r , t h e t r a c e e l e m e n t . I t d i s o r g a n i zes The S o n g , s u b t ra c t s i n t o a n a p p a r i t i o n , a p h a n t o m f u n k o f s t e a l th a n d i n te r m i t t e n c e . As a n a g e n t o f a l te ra t i o n , d u b ' s d e r e a l i z a t i o n o f The S o n g ' s p r o f i l e , i ts r e c o g n i z a b l e e d g e s , fee l s fa r m o r e p r e s e n t t h a n d o e s r u b ' s o v e rs o u l ed h u m a n p r e s e n c e .

03[0 5 9 ] I fe e l a lie n , a n d like s o m e o n e ' s g o i n g t o r e c o g n iz e m e in a minute as an alien Tricky Wra i t h On M a s s i v e A t t a c k ' s ' 9 1 Blue Lines, t h e H i p H o p v o i c e d e f l a t e s a n d s p a t i a l i z e s i n to a h e a d p h o n e m u s i c f o r h e a d z , a b e d r o o m m u s i c . W i t h T r i c ky, p o s t - H i p H o p h e a d m u s i c b e c o m e s h e a d l e s s , wra i t h l i ke . unheim lich, a t h o m e n o w h e r e . Tri cky ' s i n h i b i t e d m u r m u r d o e s n ' t e m erge s o a s m u c h retreat a s t h m a t i ca l l y from t h e s i d e o f his m o u t h . Trad H i p H o p hypes t h e voice, revs i t i n to a m o t o r m o u t h . W i th T r i cky, v e r b a l f l o w s l ow s d o w n t o a b a l e fu l c r a w l t h a t c l o a k s M a r t i n a ' s w i th e red h u s k o f a d raw l . O ft e n , t h i s c r o a k i s b a r e l y t h e r e , j u s t a s h a d e o f i t s e l f. M a r t i n a a n d T r i c k y a r e n o t so m u c h s i n g e r s a s f l u x e s , p e r p e t u a l l y t ra n s m i t t i n g a b r u p t b u r s t s , h u m a n a e r i a l s res o n a t i n g w i t h t h e l o w ­ fre q u e n c y o s c i l l a t i o n s o f t h e c i t y i n t r e m u l o u s s y m p a t h y . T r i c k y ' s n o t i n t e r e s t e d i n n a rr a t i v e a s m u c h a s p s y c h ogeogra p h i c a l t e x t u r e s t h a t b l u r t h e s u bj e c t = o bj e c t d i v i d e i n to a h a z y c o n t i n u u m . T h e B l u n t S m o k e s Yo u T r i c k y i s n o t so m u c h a n a r c i s s i s t a s a narcossist. N a r c i s s i s t s n e v e r s m o ke , n e v e r d o d r u g s b e c a u s e d r u gs t a k e t i m e a w a y from y o u r s e l f, p r e c i o u s t i m e t h a t t h e n a r c i s s i s t c o u l d be s p e n d i n g o n t h e m s e l v e s . T h e n a r c i s s i s t gets h i gh o n t h e e n d l e s s s u p p l i e s o f t h e m s e l v e s . The n a r c i s s i s t works fu l l t i m e o n t h e e n d l e s s j o b t h a t i s t h e m s e l v e s . For the na rcoss ist, on the other hand, the s e l f goes u p i n smoke. Being is an unbearable heaviness. Bomblike T h e n a rc os s i s t d i s s i p a t e s a l l t h i s h a rd w o r k a s e a s i l y a s i n h a l i n g : ' M y b ra i n t h i n k s m y b ra i n th i n ks b o m b l i ke . ' N o w a d a y s , a s T r i c ky p o i n t s o u t ' e v e ry t h i n g h a p p e n s a t o n c e , n o t j u s t o n e t h i n g a t a t i m e . I ' m t ry i n g t o b e 3 - d i m e n s i o n a l . ' L i ke B a s q u i a t ' s wo r l d m a c h i n e p a i n t i n g Pegasus, T r i c k y i s a h y p e rs e n s i t i v e h u m a n a n t e n n a , a h u m a n r a d a r , a n e x p o s e d c o r t e x w i th a l l h i s n e rves on t h e o u t s i d e . ' M y b r a i n t h i n k s b o m b l i ke ' : a l l t h e i n fo o f t h e d a t a s p h ere f l o o d s i n t o t h e s e h u m a n t r a n s m i t t e r s . B y a d m i t t i n g to f l a w s , a m p l i fy i n g fra i l n e s s , T r i cky fa s h i o n s a s e a r i n g force fro m wea k n e s s , i m p l i c a t e s y o u i n a c o n fl i c t o f c o n fu s i o n , s p i te , p e t u l a n c e , awkwa r d n e s s ; d y s fu n k t i o n a l i ty d i s a r m s H i p H o p ' s b e l l i c o s e

03[060] b e l l i ge r e n c e , d i s s o l v e s H o u s e ' s e m o t i o n a l c a r a p a c e . Th e firs t s ig n o f p sych o s is is a Ch ris t c o m p l e x The Lownmower /lton VC C h r i s t C o m p l e x < > D e v i l Sy n d ro m e O n ' 9 5 ' s Psychosis, T h e R Z A ' s d i a b o l i c a l a t m o s p h ere eva c u a t e s s t a n d a r d s o n g s t r u c t u r e , r e p l a c i n g i t w i t h a m i a s m a o f s wa r m i n g d r o n e s , i n fe r n a l s i g h s , d i s e m b o d i e d m o a n s a n d m a g n i fi e d b r ea t h i n g . The b e a t s d o n ' t k e e p t i m e ; i n s t e a d t h e y d r a g t i m e d o w n i n to a d ru g g e d t e m p o . A h i g h - p i t c h e d h u m i n s i n u a te s t h r o u g h t h e t r a c k , d e l i be r a t e l y i n d u c i n g a n e w a n d i m p roved t i n n i tu s , t h e p e r p e t u a l r i n g i n g o f t h e e a r s t h a t y o u c a n n ever s w i t c h o ff. N o e a r l i d s . T h e s o n g ' s re m a i n s a r e s a t u ra t e d b y a n o v e rw h e l m i ng c l a u s t r o p h o b i a t h a t p e r v a d e s every t h i n g . You r b o d y c r i n ges f r o m i t s i n fe r n a l s h a kers b u t t h e i n te n s i fi e d m a l ev o l e n c e reaches o u t and traps you, d r a w s y o u d o w n i n to i ts w o r l d . Yo u ' re c a u g h t i n s i d e a p a i r o f g i a n t l u n g s . E a c h close-mi ked i n h a l a t i o n , each asthmatic heave draws you i n through its n o s t r i l s . Psych osis d r a i n s y o u r l i fe b l o o d , l e a v i n g y o u e n e r v a t e d , c r u s h e d by s o n i c p r e s s u r e . Tr i c k y ' s v o i c e s l ows t o a c r a w l i n g s h u d d e r . S h i ve r i n g s h re d s o f v o i c e shadow each other, volumeless shapes writhe around his croaking death rattle: ' S o i t seems I'm the Devi l ' s son/Out o f breath and o n the r u n / j e s u s C h r i s t t h e y w a n n a b e m e . ' T r i c ky e x p l a i n s t h e d r u g " t e c h i n t e r fa c e o f t h e C h r i s t C o m p l e x : ' I s m o ke a l o t o f w e e d a n d , y o u k n o w , i t ' s a fa c t t h a t p eo p l e w h o s m oke w e e d go t h r o u g h D ev i l s y n d ro m e s a n d j e s u s s y n d r o m es . ' Songs become prophetic visions that accelerate t h e apocalypse they w a r n a ga i n s t : ' S p a c e r a c e t h e a l i e n /The D ev i l ' s c o m e for m e /The Dev i l ' s c o m e for m e . '

03[ 0 6 1 ] I e s ca p e wi t h m y s a n i ty, u tiliz i n g :Jrd vision / S u rro u n d e d by a :J - s i d e d fig u r e c o n t a i n i n g t h e b r a in o f a t rig g e ring m e ch a n i s m Organized Konfusion P a ra n o i m i a The w o r l d b e c o m e s a p e r m a n e n t t h re a t , s w a r m i n g w i t h d o g d e v i l s a n d e a r t h a n ge l s , a d e s ta b i l i z e d f l u x o f p e r p e tu a l p a ra n o i a . 7 2 0 . o f p e r i p h e r a l s u s p i c i o n , u n fo u n d e d g r u d g e s a n d w i l d g u e s s e s : a l l t h e s e e x t e rn a l i z e t h e m s e l v e s , s p l i t o ff, r o a m a r o u n d , c o m e a l i v e . The RZA stretches o u t each word i n the spooked shudder of Hanna B a r b e r a h o r r o r c o r e . S y n t a x i s d ra g g e d u n t i l s p e e c h i s d r i e d o u t , a l l t h e w o r d s a re w i t h er e d , s i b i l a te d , s u c ke d f r o m a n o x y g e n m a s k . T h e R Z A w i n c e s a ft e r e a c h l i n e a s i f n e e d l e s i n k o u t t a t t o o s o n h i s b a c k : ' T h e r e i s n o m o r e ra i n l e ft i n t h e fore s t . Every t h i n g i s p e t r i f i e d , t e r r i f i e d , h o r r i f i e d . ' H i s v o i c e c r aw l s t o a s ta g e w h i s p e r . H i pH o p en ters a d i g i t a l Dark Age i n w h i c h the S e v e n D e a d l y S i n s , t h e Christian psychomachies, return as audioha l l u c i nations, psych i c p a t h o l o g i e s p l a g u i n g H i p H o p ' s w r e t c h e d h o o d r a t s : ' Y o u h a v e b e e n d e n i ed t h e r i g h t to y o u r 3 r d E y e . N o w i t ' s s h u t t . . . t . . . t . . . t . . . t . . . t . . . t . N o m o r e t o b e o p e n e d ' [ la ughs) . O n o n e h a n d t h e 3 r d E y e i s a n o b s o l e t e p i n e a l g l a n d , t h e re m n a n t o f a p e • · h u m a n e vo l u ti o n , a m i l l i o n - y e a r - o l d b o d y s e n s o r . O n t h e o t h e r , i t ' s t h e l a rg e , u n e x p l a i n e d b l a n k s p o t i n t h e m i d d l e o f t h e v i s u a l fi e l d , t h e m i n d ' s e y e , t h e t h re s h o l d t o god l i ke p e r ce p t i o n , t h e e y e o f i n s i g h t t h a t g i v e s h u m a n s i m m a te r i a l i n n e r v i s i o n s .

04 [ 0 6 2 ] IN N ER SP R TI R LIZ I N G T H E SON G [Towards a] Myt h S c i e n c e of t h e Mixi n g Desk: The U psetter Far from R a s t a fa r i ' s f l a t - e a r t h m e t a p h y s i c s , i t s fu n d a m e n t a l i s t b l o o d a n d f i r e , L e e P e r r y ' s p r o d u c t i o n s a n d t h e o r y fi c t i o n s o p e n u p a n e n t i re l y n e w field: the MythSci ence o f the m i x i n g desk. The Upsetter taps i n t o the s e c r e t l i fe o f s o u n d m a c h i n e s , o p e n s t h e c y b e r n e t i cs o f t h e s t u d i o . R e m i x Yo u r H e a d I n t h e U p s e t t e r ' s c o n c e p t e ch n i c s , t h e m i x i n g d e s k i s a m e n t a l m a c h i n e , a m i n d < > m a c h i n e i n t e r fa c e . Perry d i a g r a m s t h e n e u r o c i r c u i try o f t h e S o u n d c r a ft m i x i n g b o a r d , i t s t h o u g h t f l o w : ' I p u t m y m i n d i n t o t h e m a c h i n e a n d t h e m a c h i n e p e r fo r m s rea l i t y . I n v i s i b l e t h o u g h tw a v e s , y o u p u t t h e m i n t o t h e m a c h i n e by s e n d i n g t h e m t h r o u g h t h e c o n t ro l s a n d t h e k n o b s or y o u j a c k i t i n t o t h e j a c k p a n e l . ' I t i s a m e d i u m t h a t fo r m s rea l i ty , v i o l e n t l y b e n d i n g t h e e n v i r o n m e n t , m a s s a g i n g i t .

04 [ 0 6 3 ] I in t r o d u c e m ys e l f a s a m is t a k e Indelible MCs The S e c r e t L i f e o f S o u n d M a c h i n e s P e r r y i s t h e a n a l ys t o f t h e s t u d i o ' s a b i l i t y t o e x t e n d p e r ce p t i o n . T h e m i x i n g desk decomposes The Song, l e a v i n g a skeletal r i b cage. The B l a c k A r k s t u d i o i s a m a c h i n e l i fe fo r m : ' I s e e t h e s t u d i o m u s t be l i ke a l i v i n g t h i n g , a l i fe i ts e l f. T h e m a c h i n e m u s t be l i v e a n d i n t e l l i g e n t . T h e j a c k p a n e l i s l i ke t h e b r a i n i t s e l f s o y o u g o t t o p a t c h u p t h e b ra i n a n d m a ke t h e b ra i n a l i v i n g m a n . ' D u b d e m a n d s s y m b i o s i s t h a t e x t e r n a l i z es t h e m i n d , d r a s t i c a l l y reco n f i g u r i n g t h e h u m a n p r o d u c e r i n t o a m a c h i n e b e i n g , a n a u d i o c y b o r g : ' Yo u a re l i s t e n i n ' t o a m a c h i n e . I i m i ta t e h u m a n b e i n g , I ' m a m a c h i n e b e i n g , I d o n ' t w o r k w i t h h u m a n b e i n gs . ' W h e n y o u s c u l p t s p a c e w i t h t h e m i x i n g d e s k , t h e s e t e c h n i c a l e ffe c t s - g a t e a n d reve r b , e c h o a n d fl a n ge - a r e r o u t e s t h r o u g h a n e t w o r k o f v o l u m e s , d o o r w a y s a n d t u n n e l s c o n n e c t i n g s p a t i a l a rc h i te c t u r e s . We 're t a k i n g o v e r t h e s u n , we ' r e c h a n g in g tim e , we 're c h a n g in g space The Mighty Upsetter M e t e o r o l o g y of t h e E c h o p l e x U s i n g t h e E c h o p l e x to c l o n e e c h o e s a n d t h e R o l a n d S p a ce E c h o t o d e l a y t i m e a n d a c c u m u l a te s h oc k s o f r e v e r b e r a t i o n , P e r r y r e r e m i x e s n t h ­ d i m e n s i o n a l i m p a c t s , n e i t h e r s n a re s n o r s y n c u s s i o n b u t p e r p l e x i n g , c o n fo u n d i n g S o n o M a t t e r . I n t h e e l e c t r o m a g n e t i c n t h w o r l d o f ' 7 5 ' s R e volution D u b a n d ' 7 8 ' s R e turn of the Super Ape, T h e S o n g i s d i s i n te r r e d u n t i l i ts g h o s t u n i v e r s e s p o p u l a te t h e wo r l d . Re turn o f the Super A p e i s d u b t h a t d i s t u r b s t h e a t m o s p h e r e u n t i l i t y i e l d s p o l terge i s t s . A r r i v i n g a h e a d o f c a u s e , s o u n d t u r n s m o t i v e l e s s , p r e m o n i t i o n a l , i ne x p l i c a b l e . ' We l l , [ t h e d r u m s ) w e r e g o i n g t h r o u g h t h e E c h o p l e x a n d w i t h t h e E c h o p l e x we c a n d o a n y t h i n g . We c a n c h a n ge e n ergy a n d fe e l i n gs . ' S t r a y s o n i c d e b r i s c r a s h e s t h r o u g h s p a ce , l o o m s i n to c l o s e u p . E ffects d e c e l e r a t e u n t i l t h e y b e c o m e b a ffl i ng , f r u s t r a t i n g r i c o c h e t s from a n u n l oa d e d g u n . T h e w i n d o f B a u d e l a i r e ' s w i n g s o f m a d n e s s s e n d s s o u n d s c a r e e r i n g a c r o s s l i v i n g s p a c e . ' T h e d r u m c o n t ro l s t h e h e a r t b e a t a n d t h e b a s s h o l d s t h e s p a c e . I d u b fro m i n n e r t o o u te r

04 [ 0 6 4 ) s p a c e . T h e s o u n d t h a t I g e t o u t o f t h e B l a c k A r k s t u d i o , I d o n ' t r e a l l y get i t out o f n o other s t u d i o . It w a s l i ke a space cra ft. You c o u l d h e a r s p a c e i n t h e t r a c ks . ' S p a c e b e t w e e n s o u n d d o es n ' t d r o p o u t , i t ' s p u l l ed o u t fro m b e t w e e n b e a t s u n t i l i t c o n v u l s e s , b u c k l e s , fo l d s u p i n to f i s t s o f s o l i d a i r t h a t b u ffet y o u w i t h w h a t P e r r y ca l l s t h e S h o c k s o f t h e M i gh t y . G i a n t p u l s a t i o n s tr a m p l e s p a c e l i ke c o l o s s a l y o u t h . G l a s s s h a t t e r s , s l o ws d o w n i n to c o l l a p s i n g c a r d b o a r d . T h e g h o s t s o f g h o s t s o f e ffec t s , 5 t h g e n e r a t i o n fx , u n fo r e h e a rd s c re a m s , r a t t l e s a n d r u s t l e s a g i t a te t h e a i r . S e p a r a ted from i t s c a u s e , t h e E c h o p l e x c r e a t e s a n o m i n o u s n e s s w i th o u t a n o bj e c t , a n a l l - p e rva s i ve fe e l i n g o f force u n d e fi n e d , o f atmospheric energies, w h i c h rends The Song, tears i t apart. The m i x i ng d e s k a c c e s s e s t h e m a g n e t i c fi e l d s . I t i s a c o n t r o l t o w e r from w h i c h t h e t u r b u l e n c e o f te c h n o l ogy i s r e c o n f i g u r e d : ' W e a r e h e r e a t t h e T u r n t a b l e Te r r a n o v a , i t m e a n s w e a r e t a k i n g o v e r . W e ' r e t a k i n g o v e r t h e a i r , w e ' re t a k i n g over t h e m o u n t s , w e ' re t a k i n g o v e r t h e s t a r , w e ' re t a k i n g o v e r t h e s u n , w e ' re c h a n g i n g t i m e , w e ' re c h a n g i n g p o w e r , w e ' re c h a n g i n g g r a c e , we ' re c h a n g i n g s p a c e . ' I n a W o r l d of E c h o As s o o n a s you h a v e e c h o , l istening has to c o m p l e t e l y change. Y o u r ear h a s t o c h a s e t h e s o u n d . I n s te a d o f t h e b e a t b e i n g t h i s o n e e v e n t i n t i m e , i t b e c o m e s t h i s s e r i e s o f r e t re a t i n g e c h o e s , l i ke a t a i l o f s o u n d . T h e b e a t b e c o m e s a t a i l w h i c h i s a l wa y s d i s a p p e a r i n g r o u n d t h e c o r n e r a n d y o u r e a r h a s t o s t a r t c h a s i n g i t . I f y o u ' re wea r i n g h e a d p h o n e s o r a w a l km a n i t b e c o m e s a c h a s e t h r o u g h t h e h e a d p h o n e s . T h e E c h o p l e x t u r n s l i s te n i n g i n t o r u n n i ng. Y o u c a n ' t c a t c h the beat, the ta i l s o f sound a s t h e y t u r n t h e c o r n e r , d i s a p p e a r d o w n a c o r r i d o r . F r o m K i n g Tu b b y t o B a s i c C h a n n e l , t h e c y m b a l i s a l wa y s j u s t o u t o f rea c h , a l wa y s t a k i n g t h e c o r n e r o f p e r ce p t i o n . W h e r e r h y t h m s h o u l d be t h e r e i s s p a c e , a n d v i c e v e rs a . S p e c t r a l d u b p i vo t s a r o u n d a n a b s e n t b e a t . R e volution Dub i s T h e U p s e t t e r ' s m i n d fi e l d . E v e r y t r a c k a m b u s h e s y o u , c o n f o u n d s t h e p r o c e s s o f p a t t e r n c o gn i t i o n b y l e a v i n g t h e e x p e c t e d b e a t i m p l i e d . B y o p e n i n g h o l e s a t t h e t i g h t e s t m o m e n t s o f t h e g r o o v e , p u l s e fa l l s t h r o u g h s u b t ra c t e d s p a c e , p o l y r h y t h m w r o n g fo o t s y o u , t u g s a n d p u s h e s a t expectation, yanks the floorboards from und erneath you. Echo turns the b e a t f r o m a l o c a l i z e d i m p a c t i n to a n e n v i r o n m e n t w i t h y o u i n s i d e . R e fra c t i o n s b o u n c e b a c k f r o m a n y s u r fa c e . I n i t i a l l y t h e s n a r e h i ts a s t r e t c h e d d r u m s k i n , t h e p e d a l d e p re s s e s a i r b e t w e e n 2 cym b a l s so i t

04 [ 0 6 5 ) h i s s e s . P n e u m a t i c m e t a l p r e s s u r e . N o w t h e i m p a c t t h a t r u n a w a y from your h e a r i n g r e b o u n d s back a t y o u from t h e w a l l , t h e c e i l i n g , t h e f l o o r . T h e w o r l d t u r n s i n to a g i a n t d r u m w i t h y o u a t i ts c e n t r e . B e a t s r i co c h e t o f f 3 6 0 " , c u r v i n g a r o u n d t h e wa l l s o f t h e w o r l d . Sitcom Ghosts Sta l k the Spectra l Song By b r i n g i n g the outside i n to the i n s i d e o f The Song, P e r r y releases s i tc o m g h o s t s i n t o t h e s p e c t r a l S o n g . P e r r y s a m p l e s tv b e fo r e t h e s a m p l e r , j u s t a s H o l ge r C z u k a y u s e s r a d i o , d r a w i n g s i g n a l s d o w n t h r o u g h the aerials i nto The Song, crac k l i n g open another t i mezone i n s i de the t r a c k . S p a ce c h a n g e s p l a c e s . R e a l i ty r e v e r s e s i t s e l f. T h e b u r s ts o f s m a s h i n g g l a s s , s q u a w l i n g b a b i e s , t r i c k l i n g w a t e r , t o i l e t f l u s h e s , r u s t l i n g w i n d scatter T h e Song to the w i n d s . P e r r y e n l ists a c ry i n g b a b y , a c o w , a h o r s e a n d a 7 0 s tv s i tc o m o n b a c k i n g v o c a l s . L i ke a grea t gra n d fa t h e r c l o c k g o n e l o c o , e a c h p r o d u c t i o n b e c o m e s a p e r c u s s i o n c o n t ra p t i o n , s p r u n g o p e n a n d h a y w i red . S h a ke r s , r a t t l e s , whistles, croakers, bells, toy piano, arthritic d r u m boxes i n a perpetu a l rhythms hower, a m o l e c u l a r m o t i o n . T h e Black Ark studio swi tches o n a techn o logy-magic d i scont i n u u m . O p e r a t i n g t h e m i x i n g d e s k d e m a n d s y o u e x p l o re i t s n e t w o r k o f a l te r i n g s p a c e s . Perry c r o s s e s i n to i t s g h o s t d i m e n s i o n , w a l k s t h r o u g h t h e t e m p o r a l m a z e o f a u r a l a rc h i te c t u r e . ' S o m e j o i n t h e g h o s t s q u a d l o n g t i m e a n d t h e m n o t i c e m e a s t h e G h o s t C a p t a i n . I a m t h e G h o s t C a p ta i n . ' ' R e volution Dub i s n o t s o m u c h p r o d u c e d a s r e d u c e d b y P e r r y . T h e S o n g i s x - ra y e d i n to e x o s k e l e t a l fo r m s t h r o u g h w h i c h tv l e a k s . F o r Woman 's Dub, t h e d i s to r t e d s n a re s d r u m l i ke n e e d l e p o i n t m a g i c k , b u t r u s t e d , fe r r i c . Kojak i s a n i n to x i ca t e d m i x , a n e c h o c h a m b e r o f m o a n s i n w h i ch s p a c e s ta g g e r s a n d l u r c h e s d a n ge ro u s l y . I n Doctor on the G o , Perry p i c k s o u t a h e s i t a n t l u l l a b y o n p i a n o , cro o n i n g ' D o c t o r o n t h e G o ' o v e r a n d o v e r a s i f h e ' s b e i n g b e r e a v e d w h i l e the studio l a ughtrack s hud ders in then subsides back into babble, theme tune and studio a p p l ause. I ncongruous occupa tion of the same d i m e n s i o n , a m b i e n c e s r u b i n a n i n co m p a t i b l e fr i c t i o n . Bush Weed' s d r u m s a re r e v e r s e d so t h e c y m b a l s u s t a i n e x p a n d s i n a m e ta l l i c s h i m m e r b e fore t h e s n a r e s b e a t t i m e . T h e s n a re s d r u m l i ke k n i t t i n g n e e d l e s o n s i l v e r fo i l , m i c r o s co p i c m a g i c k t h a t a n t i c i p a t e s t h e n t h -d i m e n s i o n a l n e e d l e p o i n t o f 4 H e r o ' s The Paran ormal i n Fo ur Forms. R a i n d ro p s a n d a n a t u re - d o c u m e n ta ry v o i c e o v e r s e e p s i n : ' M a n h a s a l wa y s b e e n a t h r e a t t o w o o d l a n d a n i m a l s . ' T h ro u g h o u t R e volution D u b , Perry ' s b e r e f t ,

04[0 6 6 ] t o t t e r i n g i n a t r e m u l o u s fa l s e t t o o f c o m p e l l i n g i n d e c i p h e ra b i l i ty . I n Raindrops, h e s i n g s i n a n eggs h e l l t r e b l e a s fra g i l e a s Le s l i e C h e u n g , t h e C h i n e s e b o y - g i r l p e r f o r m e r i n t h e ' 9 3 fi l m Fare well M y Con cubine, a n d t i p t o e s t h r o u g h Bird i n Han d o n l i l y p a d s . O n t h e s n a re d ro p , h i s t r e m o l o i s l a n g u i d i ty , r o c k a b y e b a s s m o t i o n . A F i e l d T r i p t h r o u g h a n E l e c t r o m a g n e t i c E nv i r o n m e n t o f D i s t o r t i o n T h e s o n i c f u t u r e from K r a ft w e r k t o P i n k F l o y d i s a l w a y s b a l a nc e d , q u a d r o p h o n i c a l l y s e p a r a te d . P e r r y m a k es d i s t o r t i o n t h e l e a d i n s t r u m e n t i n h i s i n t o x i c a t e d m i x o l ogy, i n w h i c h b a l a n c e l u r c h e s , t h e s p a t i a l c o o r d i n a t es o f u p a n d d o w n , n e a r a n d f a r a l l h e a v e a n d y a w i n a s e a s i c k n e s s o f t h e e a r , a d r u n k e n n e s s of t h e h e a d . B a l a n ce , t h e T r a d l o c a t i o n a n d i d e n t i fi c a t i o n o f s o u n d i n s p a c e , i s rep l a ce d b y a s e es a w i n g m o t i o n , i n d u c i n g a n o p p re s s i o n b y s p a c e , a t h r e a t e n i n g s e n s e t h a t s p a c e i s a b o u t to c r u s h y o u , p u s h y o u o f f t h i s revo l v i n g p l a n e t . Y o u r h e a r i n g i s o n t h e verge o f t h r o w i n g u p . W i th T h e Upsetter, d e p t h o f f i e l d i s n e i t h e r weightless a n d e m p t y n o r v a u l t i n g a n d o v e r w h e l m i n g . I n s t e a d i t ' s c r o w d e d w i t h c r a c k l e , s e e t h i n g, h e a v i n g , t e e m i n g with w r a i t h s d e p r i v e d o f d e fi n i t i o n , lost from h i s to r y , j o s t l i n g f o r s p a c e . ' H i s m e t h o d o f d u m p i n g t r a c k s o n t o o n e t r a c k t o free them for fu r t h e r o v e rd u b b i n g i n t r o d u c e d an e ffect o f d e g r a d a t i o n t h a t b e c a m e a n e s s e n t i a l p a r t o f t h e m i x . ' W h a t S t e v e B a rrow c a l l s d e g ra d a t i o n i s e l e c t r o m a g n e t i c e n c h a n t m e n t . I n Re turn o f th e Super Ape, t h e fuzz and l e a ka ge o f n t h - g e n e r a t i o n t a p e - d i s t r e s s b e c o m e l e a d i n s t r u m e n t s , d ro w n i n g t h e e c h o s c a p e i n a h a z e o f e l e c t r i c fee d b a c k . D istortion pushes a t the l i mits of the med i u m until i t exceeds the m e d i u m , T h e S o n g i m p l o d i n g , d i s i n tegra t i n g i n t o o x i d e , d r i zz l i n g ra i n , s i b i l a n c e , a n e n t i re s p e c t r a l d i m e n s i o n i n s o u n d . The tracks s u c c u m b to a p p a r i t i o n s , become porous, crackle l i ke the c e l l u l o i d b u r n i n g u p a t t h e e n d o f l n g m a r B e r gm a n ' s fi l m ' 6 6 Persona. Degenera t i o n = R e g e n e r a t i o n . S o u n d s u s s u r a t e s i n t o an e l e c t r o m a g n e t i c nth world through which ghosts grow, effects superimpose and wra i t h s c o n grega t e . L i s t e n i n g b e c o m e s a fi e l d t r i p t h r o u g h a fo u n d e n v i r o n m e n t . E v e r y t h i n g e m erges fro m t h e s u b a u d i b l e s t a t i c o f u n d e rw a t e r e l e c t r i ckery, p e r p e t u a l l y r u s t l i n g a n d gra n u l a t i n g , fi b r o u s a n d a q u a t i c . Perry b u r i e s v i d e o t a p e s i n s o i l , t u r n i n g t h e m e d i u m e n v i r o n m e n t a l .

05[067) V I RT U A L I Z I N G THE BRE AKBE AT W i l d style Adventures in the Hyperd i m e n s i o n s of t h e Breakbeat: 4 H e r o , Rob Playfo rd a n d G o l d i e , A Guy C a l l e d G e r a l d Tra d i t i o n a l l y, the m u s i c o f the fu t u re is a l wa y s h e a t l e s s . To b e fu t u r i s t i c i s to j e t t i s o n r h y t h m . T h e b e a t i s t h e b a l l a s t w h i c h p r e v e n t s e s c a p e v e l o c i ty, w h i c h s t o p s m u s i c b r e a k i n g b e y o n d t h e e v e n t h o r i z o n . T h e m u s i c o f t h e f u t u r e i s w e i g h t l e s s , t r a n s c e n d e n t , n e a t l y c o n v e rg i n g w i t h o n l i n e d i s e m b od i m e n t . H o l s t ' s Pla n e t Sui te a s u s ed i n K u b r i c k ' s 2 0 0 1 , E n o ' s A pollo s o u n d tr a c k , Va n g e l i s ' Blade Runner s o u n d t ra c k : a l l t h e s e a r e g o o d r e c o r d s - b u t s o n i c a l l y s p e a k i n g , t h e y ' r e a s fu t u r i s t i c a s t h e T i t a n i c , n o t h i n g b u t u p d a te d e x a m p l e s o f a n 1 8 t h C s u b l i m e .

05[068] Te c h n o lo g y h a s m a d e u s l o o k a t m u s i c t h r o u g h a m icro s c o p e Goldie The Computerization of the Breakbeat With the post-Marley Marl computerization of t h e Breakbeat, a l l t h i s [ r ] e a r v i e w h e a r i n g i s o v e r . T o g o o u t i n to s p a ce t o d a y m e a n s to g o f u r t h e r i n to r h y t h m . F a r fro m a b a n d o n i n g r h y t h m , t h e F u t u r i s t p r o d u c e r i s t h e s c i e n t i s t w h o g o e s d e e p e r i n to t h e b r e a k , w h o c r o s s e s t h e t h r es h o l d o f t h e h u m a n d r u m m e r i n o r d e r t o i n v e s t i g a te t h e hyperd imensions o f the dematerial ized Breakbeat. O u r dru m m e rs don ' t s we a t a n ym o re Kraftwerk B r e a k b e a t Science I s R h yt h m i c Psych e d e l i a T h e Breakbeat s c i e n t i s t never swea t s : rhythmatics beco mes l e s s about p r a c t i c e , rri o r e a b o u t ' t h i n k i n g a n d h e a r i n g ' , a s K r a ft w e r k s a i d . M o v i n g i n to t h e p o s s i b i l i t y s p a ce o f h y p e r r h y t h m , p o s t h u m a n r h y t h m t h a t ' s i m p o s s i b l e to p l a y , i m p o s s i b l e to h e a r i n a h i s t o r y o f c a u s a t i o n . For G o l d i e , h y p e r r h y t h m b e g i n s a t t h e p o i n t when 'we've lost the d r u m m e r ' ; a t t h e m o m e n t w h e n ' y o u ' re re a d i n g t h e b r e a k l i ke b ra i l l e . ' To t a l k o f t h e ' fu t u re o f c o m p u t e r m u s i c ' i m m e d i a t e l y p r e s u m e s a a c a d e m i c c o m p o s e r- s c i e n t i s t l oc k e d i n t o a p r e w a r m o d e l o f t o p - d o w n o f fi c i a l s c i e n c e . B u t B r e a k b e a t s c i e n c e i s t h e r u n a w a y f u t u r e o f c o m p u te r m u s i c , i n w h i c h a l p h a n u m e r i c a l s o u n d escapes fro m t h e l a b , rep l i c a t i n g a c r o s s b e d r o o m s t u d i os i n a s e r i e s o f c o v e r t o p e ra t i o n s . B r e a k b e a t s c i e n c e i s t h e s e c r e t t e c h n o l o gy o f g e n e - s p l i c i n g s o u n d , t h e u n o ffi c i a l s c i e n c e o f r h y t h m h a c k i n g t h e b r e a k u n t i l i t b e c o m e s a p a s s a g e i n to t h e d r u m t r i p a n d t h e d r u m t r i c k, a n e s c a l a t i o n o f r h y t h m i c t i m b r e ffec t s . A s D e g o M c Fa r l a n e o f 4 H e r o e x p l a i n s : ' Y o u e n d u p w i t h a s o u n d t h a t ' s l i ke a 6 t h - ge n e r a t i o n s a m p l e , c o m p l e t e l y d i ffe r e n t to w h a t y o u s t a r t e d w i t h . ' H y p e rcu s s i o n H y p e r r h y t h m ' s d i g i t a l s u p e r s es s i o n o f t h e h u m a n i m m e d i a t e l y a l te r s y o u r p e r c e p t i o n o f t h e p e r c u s s i v e a c t . As a n a c t i o n a l eve n t i n t i m e s p a c e , d r u m m i n g l o s e s i t s s o l i d i ty . B r e a k b e a t s c i e n ce s c r a m b l es t h e l o g i c o f c a u s a t i o n , o p e n s u p a n e w i l l o g i c o f h y p e r c u s s i o n a n d s u p e rc u s s i o n . Th e Paran ormal i n Four Forms e x e m p l i fi e s t h e s u pe r c u s s i v e goa l o f 4

05[06 9) Hero: t o reconfigure rhythms so that they travel through space. M c fa r l a n e a n d G o l d i e ' u s e d t o t a l k a b o u t t h i s s o u n d t h a t w o u l d go a l l t h e w a y a ro u n d a n d t a p y o u o n t h e s h o u l d e r . ' I n Paranormal, r h y t h m i s a h e a t s e e k i n g b r e a k w h i c h g o e s a w o l , reorga n i z i n g s o u n d i n to a n aerodyna m i c e p i c . E a c h break branches, t h e rattlesnake break i n the r i g h t s p e a k e r t r a v e l s a r o u n d y o u r h e a d , fa d i n g b e h i n d y o u r n e c k , s wa l l ow i n g i t s t a i l . T h e l e ft - s i d e b r e a k fa d e s a w a y b e h i n d y o u r h e a d , i n te r s ec t i n g w i t h t h e r i g h t i n a s u b s o n i c t u r b u l e n c e , r e e m e rg i n g s o c l o s e i t g r a z e s y o u r h e a d w h i l e t h e r i g h t i s fa r o ff. s u b a u d i b l e . S i m u l t a n e o u s l y t h e l e ft - s i d e b r e a k d i s t r e s s e s i n t o a h i gh - p i t c h e d t o n e w h i c h d r o p s o u t o n l y t o l o o m u p i n y o u r e a r , s h r i e k i ng l i ke a j e t fi g h t e r . B e h i n d y o u s p a c e t r e m b l e s a s e a c h fl i g h t p a t h a g i t a t e s t h e o t h e r ' s o r b i t a t d i ffe r e n t s p e e d s . Caught up in the Audiomaze W i th The Paran orm a l i n Fo ur Forms, y o u ' re i n s i d e b i n a u ra l anamorphos i s , a l l caught u p i n w h a t producer Dr S . Gachet terms t h e a u d i o m a z e . B e a t s s p l i t a n d l a u n c h t h e m s e l ve s i n p a ra l l e l fl i g h t p a t h s . The l e ft side i s effected i n t o a tra n s i s to r t r e b l e , p e a k i n g at a s t r e s s - i n d u c i n g s c r e e c h . T h e z c r o s s , e a c h s w a l l o ws t h e o t h e r a n d everyth i n g i s t u b e d through a n nth-dimensional torus . D r u m s t i c k s b e c o m e k n i t t i n g n e e d l e s h i t t i n g e l e c t r i fi e d b e d s p r i n g s a t 180 bpm, crackli n g on impact with humps o f atonal bass. Each beat reco i l s p l a y i ng t h e n e rves l i ke a h a r p . B o t h o r b i t s c o i n c i d e , t h e r i g h t a s k n i fe - s h a r pe n i n g s c y t h e , t h e l e ft a s s p e e d - m e t a l b l u r, ra t t l e s n a ke s p a s m s w h i c h c o m p re s s i n to b ed s p r i n g s a s ta u t a s Tes l a c o i l s . A t t h i s l ev e l a l te r e d b e a t s t r i gger w h a t M e t h o d M a n t e r m s s u bc r a z i n e s s . M c fa r l a n e rec a l l s ' k i d s com i n g u p to y o u , t a l k i n g a b o u t T h e Pa ra n o rm a l , s a y i n g h o w t h e y s a w t h i n g s c o m i n g o u t o f t h e l i g h t s a n d t r i e d t o g r a b t h e m . ' Wou n d u p i n t o a h a i rt r i gg e r t a u t n e s s , b r e a k s s p r i n g l o a d t h e r e f l e x e s u n t i l y o u b e c o m e a b o d y - g u n a c h i n g to b e released. Your muscles seize up, your neck cringes, your entire body h u n c h e s u p . Yo u ' re a g i a n t h a u n c h , r e a d y t o b e re l e a s e d b y t h e t r i g g e r .

05[070] Scie n c e to day h a s b e c o m e a m a ch i n e o f o u t ra g e o u s r e p re s e n ta t i o n Paul Virilio The Physics of Physica lity H y p e r r h y t h m generates a n e w p h y s i c s o f p h y s i ca l i ty. K i n a e s t h e t i c d i s o r i e n t a t i o n s b e c o m e a u d i b l e i n t h e a s trophys i c a l track t i t l e s o f 4 H e r o ' s ' 9 4 c o n c e p t d o u b l e a l b u m Parallel Uni verse, i n t h e s e n sory s u perparadoxes o f E s c h e r ' s ' 5 4 l i thograph Te trahedral Plane toid. Space titles a n n o u n ce that the physical l aws o f r h y t h m a r e a b o u t to be i n vo l u te d , just a s a wri n k l e i n t i m e co l l a ps e s the fa b r i c o f s p a ce - t i m e . The s c i en t i fi c t i t l e m a k e s r h y t h m i c psychede l i a a u d i b l e . T h e s c i e n c e i n Breakbeat s c i e n c e does n ' t d ra i n s e n s a t i o n ; i n stead i t o p e n s u p a pos s i b i l i ty s p a c e o f h y p e r se n s a t i o n . R h y t h m i c a l l y s p e a k i n g , s c i e n c e s e n su a l i z e s . Phys i cs d o es n ' t n u m b t h e s e n s e s , i t i n te n s i fi e s t h e m . W h e n the e y e ' s c a p a c i t y to exp l a i n the e a r b r e a k s d o w n , p h y s i c s t a k e s over. S c i e n c e takes c o n t r o l a s s o o n a s t h e v i s u a l c o l l a p s e s . T h e cogn i t ive d i s s o n a n c e o f s c i en c e a m p l i fi e s t h e p e rc e p t u a l wrench o f r h yt h m i c psyched e l i a . Q u a n t u m p h y s i cs t ra n s l a te s e a s i l y i n to M a rv e l c o m i c s a n d W a r n e r Bros cartoons because q u a rks, gluons a n d the B i g Bang a l l point to the m a l l e a b l e l a w s u n d er p i n n i n g p h y s i c a l rea l i ty . I t ' s n o t G o d ' s Word t h a t u n d e r p i n s t h e s u b a to m i c U n i v e r s e , i t ' s P l a s t i c M a n ' s . B r e a k b e a t s c i e n c e t h e r e fore o p e n s a co n t i n u u m between t i t l e a n d track a c r o s s w h i c h s e n s o r y c o n c e p t s move fre e l y . R h y t h m a c h i n es d / e v o l v e i n to S o n i c S c i e n c e . S c i e n c e d / e v o l v e s i n t o Fouca u l t ' s s e n s a t i o n a l p h a n t a s m a p h y s i c s , t h e ' s pecu l a t i ve fa n t a s y o f s c i e n c e ' t h a t B a l l a r d ca l l ed for b a c k i n ' 6 2 . T h e i m po s s i b l e p h y s i c a l s t a t e s o f q u a n t u m c h r o m od y n a m i cs e a s i l y b e c o m e Pa r l i a m e n t ' s q u a r k s a n d g l u o n s . R a d i o a s t r o p h y s i c s b e c o m e s D r e x c i y a ' s a q u a w o rm h o l e s . P h y s i c s i s t h e g a t e w a y i n t o a k i n a e s t h e s i a i n w h i c h g e o m e t r y i s p h ys i c a l , t o p o l o g y s e n s u a l . B r e a k b e a t s c i e n c e i s t h e p h y s i c s o f r h y t h m . I t i m pa c t s a t l e v e l s b a r e l y e x p l i c a b l e i n the normal l a n guages of sensation. Beats become abstract at t h e p o i n t w h e n t h e b o d y s u c c u m b s t o s e n s a t i o n s w h i c h i n d u ce a gu l f c r i s i s i n s p e e c h , w h e n l a n g u a g e fa l l s a w a y a n d fa i l s , h a p p i l y.

05[07 1 ] The A b s t r a c t T i m e s t r e t c h e s i n t o a s t a t e o f s e n s o r y s h i pw r e c k t h a t p r o d u c e r R o n i S i ze i n '94 termed the ' Phizica l ' . Rather than d i sembodying the body, the d i g i t a l B r e a k b e a t i n te n s i fi e s i t , a t a l e v e l m o r e s e n s e d t h a n e x p l i c a t e d . Th i s c o m m u n i c a t i o n b r e a k d o w n i s w h a t B r e a k b e a t s c i e n c e c a l l s a b s t r a c t . Abstract does n ' t mean rarefied or detached but the oppos ite: the body stuttering on the edge o f a future sound, teetering o n the brink o f n e w s p e ec h . B r e a k b e a t s c i e n c e ' s e x t r e m e r h y t h m i c i n v o l u t i o n forc i b l y i n d u c t s y o u i n to a n e w m o t o r s y s t e m , t u r n s y o u i n to a s t e p p e r r o l l i n ' w i t h r e i n fo r c e d r e f l e x e s . L i s t e n i n g s h a rp e n s u p t h e s e n s e s u n t i l t h e y b r i s t l e l i ke s p i ke s . T h e b o d y i s b e i n g m u ta t e d l i m b by l i m b , a s j u n g l e p r o d u c e r M a rve l l o u s C a i n i n s i s t s , by p h i z i c a l c o n vo l u t i o n s t h a t l a n g u a g e h a s n ' t c a u g h t u p w i t h y e t . L a n g u a g e d r a g s i ts f l a b b y a r s e a ft e r s o u n d . T h e r e fo r e i t i s m i s s p e l t , c o n t o r t e d , r i n s e d o u t . L a n g u a ge l a g s b e h i n d b e a t s a n d m u s t b e m a s h e d u p . Yo u r m o to r s e n s o r y s y s t e m co m m u n i ca te s p a ra l i n g u i s t i c a l l y from a fu t u r e w h i c h t o d a y ' s m e d i a c a n ' t e v e n b e g i n to d e c r y p t . T o s a y t h a t tod a y ' s p r o d u c e r i s i n a r t i c u l a t e a n d m o n o s y l l a b i c o n l y reve a l s h o w s t a n d a r d c r i t i c i s m i s d e a f t o t h e s e n s o r y s p e c t r u m c a p t u re d i n S o n i c F i c t i o n , P h o n o F i c t i o n a n d m a c h i n e m y t h o l o g i e s . I t i s o rd i n a ry l a n g u a g e t h a t ' s d u m b a n d w h i c h m u s t be a d a p t e d . T h e n e r v o u s s y s t e m , t h e f i r s t s e n s ory f i e l d to be o v e rh a u l e d by d i g i t a l r h y t h m , i s n o w far i n a d v a n c e o f a l l T r a d u n d e r s ta n d i n g . B r e a kbea t s c i e n ce c o m p e l s y o u i n to t h e s t a t e d i a g n o s e d by N o r m a n M a i l e r i n ' 57 : ' We a r e o b l i g e d to m e e t t h e t e m p o o f t h e p r e s e n t a n d t h e fu t u r e w i t h r e f l e x e s a n d r h y t h m s w h i c h c o m e f r o m t h e p a s t ; t h e i n e f fi c i e n t a n d o ft e n a n t i q u a te d n e r v o u s c i rc u i t s o f t h e p a s t s t r a n g l e o u r p o t e n t i a l i ty fo r r e s p o n d i n g to n e w p o s s i b i l i t i e s . ' The D i s t r i b u t e d B r a i n I s a B o d y T h e s e n s o r y m o t o r re fl e x e s o f t h e b o d y a r e c e n t u r i e s a h e a d o f m i n d s s t i l l l o c k e d i n t o d e a d t r a d i t i o n s . T h e b o d y i s a d i s t r i b u t e d b ra i n , a b i g b ra i n w h o s e z o n e s a re n o n e t h e l e s s s e p a r a t e d from e a c h o t h e r b y c e n t u r i e s , i n h e r i te d h a b i t s . 4 H e r o ' s Para llel Uni vers e i s a l l d r u m t r i p s a n d d r u m t r i c k s , w h o s e p u r p o s e i s t o s p r i n g t h e s e n s o r i u m i n t o a c t i v i t y , to t u r n o n t h e e n t i re b o d y a s a b i g b ra i n . T h e b o d y t h i n k s i n u n k n o w n k i n d s o f b o d i l y i n t e l l i g e n c e b e c a u s e i t ' s a l a rge b ra i n , b e c a u s e t h e b ra i n i s d i s tr i bu t e d a c r o s s t h e e n t i re s u rface o f t h e b o d y . R h y t h m i c p s y c h e d e l i a t h e refore a c t i v a te s n e w kinds o f d e r m a l t h o u g h t , 3 r d - E a r h e a r i n g , t h e t r a n s e n s o ry

05[07 2 ] c a p a c i t i e s o f e m b o d i ed t h o u g h t . T h e e a r ' s p o w e r t o l o c a te t h e s h a p e o f s o u n d i n t i m e , w h a t audiovisual theoris t M ichel Chion ca l l s its 'temporal res o l v i n g p o w e r s ' , a r e s p e d u p a n d i n v o l u t e d , b a ffl i n g t h e b o d y ' s s e n s e o f l o c a t i o n i n t i m e . I n Solar Emissions d e t u n e d a n a m o r p h i c w a r p s a n d q u a r k s fl a re a b o v e y o u r h e a d , m a ke y o u r e a r s s q u i n t . R h y t h m i c p s y c h e d e l i a t r i ggers t h e e y e i n y o u r e a r , t h e fee l i n g i n t h e e a r , r o b o r a p p e r Cra i g M a c k ' s ' fl a v a i n t h e e a r ' : ' W h e n k i n e t i c s e n s a t i o n s o r ga n i ze d i n to a rt a r e tra n s m i t t e d t h r o u g h a s i ng l e s e n s o r y c h a n n e l , through t h i s s i ngle channel they c a n convey a l l t h e other senses a t once, r h y t h m i c , d y n a m i c , t a c t i l e a n d k i n e t i c s e n s a t i o n s t h a t m a ke u s e o f b o t h the a u d i tory a n d v i s u a l c h a n n e l s . ' Breakin ' i n Space Parallel Uni verse c r o s s e s t e x t u r h y th m i c t h r es h o l d s . C o l l a p s i n g p i tc h a m bu s h e s y o u i n t o a t ra n s fo r m a t i o n s c e n e o n fa s t fo rwa r d , d r a w s y o u i n to n e w s e n s o r y s p e c t r a , m i x e d fee l i n g s , p o l y p a r a d o x i c a l d r u m e m o t i o n s n o t y e t n a m e d . Sha do w Run i s a s e q u e n c e o f g r a n d f a t h e r c l o c kc h i m e s r u n n i n g d o w n w i t h a n o ffkey q u e a s i n e s s u n t i l w h a t s o u n d s l i ke t a p e s t a r t s t o b u c k l e a n d b u m p a s i f i t ' s s p oo l i n g o u t o v e r t h e m i x i n g d e s k a n d i n to s p a c e . K e y b o a r d s b e n d a n d s h i ft p i tc h i n to g l u t i n o u s , m e l t i n g i n fr a ­ g a m e l a n . T h e b a s s b u c k l e s a n d w i l t s . R h y th m i c s i g n a l s a r e fi l t e r e d t h r o u g h s y n t h e s i ze r s u n t i l t h e y c o i l l i ke c a b l e s a n d s p r i n g s . Perc u s s i o n m e l ts i n to s p o n g y t e x t u r e m a t t e r t h a t s p i l l s i t s g u t s o v e r t h e t r a c k , e s ca p i n g f r o m t h e w o r l d o f t h e t r a c k t o p r o b e a r o u n d y o u r h e a d , c i rc l i n g y o u r h e a t . T i t l e s s u c h a s Sunspo ts, Solar Emissions a n d Wrinkles i n Tim e s u g g e s t t h a t b r e a k i n g d o w n s t a n d a r d s p e e d s i n to m o l e cu l a r p l a s t i c , i n t o s t u ff y o u p l ay w i t h , i s t h e a u r a l e q u i v a l e n t o f g o i n g t h ro u g h t h e S t a r G a te i n 2 0 0 1 . C o m p u t e r i z a t i o n a l l ow s 4 H e r o t o i n v e s t i g a te m i cr o s c o p i c a l l y t h e m i c r o t o n e s o f p i t c h i n d r u m s , b a s s a n d s y n t h . M a r k C l a i r o f 4 H e ro r e ca l l s t h a t ' W e u s e d t o h a v e w e e k e n d s w h e r e w e ' d j u s t m a ke s o u n d s a n d p r o c e s s b r e a ks . ' B y u s i n g the s a m p l e r ' s q u a n t u m expan s i o n o f the A S D R envelope to a l te r r a t h e r t h a n r e p a i r t h e b r o k e n b e a t , r h y t h m c r o s s e s t h e t h r e s h o l d from w o o d to m e t a l t o w h a t p r o d u c e r j a y M a g i ck t e r m s ' n e e d l e p o i n t m a g i c k ' . D r u m s t i c ks w r i t h e l i ke p o i s e d r a t t l e s n a ke s , b e a t s b e c o m e b l a d e s t h a t s l a s h a n d s c y t h e a t 1 7 0 b p m , k n i t t i n g n e e d l e s t h a t h i t t i n fo i l s o fa s t t h a t e a c h i m p a c t t r i g g e r s a s p i t t i n g c r a c k l e o f fuzz.

05(07 3) Th e gra ffi t i a r t i s t cra c k e d t h e l e t t e r firs t . N o w I u s e a M a c t o do th e s a m e t h i n g Goldie Of P i c t o g r a m m a t o l o g y G ra ff i t i t u r n s t h e m e s s a g e i n to t h e m e d i u m . I n s te a d o f l o o k i n g t h r o u g h t h e l e t ter, t h e eye i s a r r e s t e d b y t h e l e t t e r , t ra v e l s a c r o s s i ts s u r fa c e . I n t ra n s fo r m i n g t h e l e t t e r i n to t h e p i c t o gr a m , t h e w o r d b e c o m e s a n i m a g e ­ e n v i r o n m e n t . Loo k i n g b e c o m e s a m o v e m e n t i n t o t h e d i m e n s i o n s o f t h e p i c to g r a m , a fa l l t h r o u g h t h e i m p o s s i b l e t o p o l o g y o f t h e 3 rd d i m e n s i o n t h a t e m e rg e s from t h e 2 n d - d i m e n s i o n w a l l . B e y o n d W i l d s ty l e : C o m p u t e r S t y l e W i l ds t y l e i n te n s i fi e s g r a f fi t i ' s 3 D i m p o ss i b i l i ty i n t o t h e h y p e r i m p os s i b l e i m a g e - l e v e l s o f 5 D . K a z e 2 : ' W i l ds t y l e was t h e c o o rd i n a t e s t y l e a n d t h e n c o m p u ter. T h a t ' s w h a t I b r o u g h t o u t . N o bo d y e l s e c a n g e t d o w n w i th i t ' c a u s e i t ' s t o o 5 t h - d i m e n s i o n a l . I c a l l i t t h e 5 t h - d i m e n s i o n a l s t e p - p a ra l l e l s t a i rc a s e , ' c a u s e i t ' s l i ke C o m p u t e r S t y l e i n a s t e p - fo rm u l a ted way. I t ' s j u s t s e c t i o n e d o ff t h e w a y I w a n t . L i k e i f I t a k e a kn i fe a n d c u t i t , a n d s l i ce , y o u k n o w , I ' l l s l i c e i t t o my o w n s e c t i o n a n d I ' l l c a l l i t C o m p u t e r S t y l e . ' K a z e z ' s 5 D a r t t ra n s l a t e s E s c h e r ' s ' 5 3 l i t h o g r a p h Rela tivity t o t h e l et t e r . B e y o n d W i l d s t y l e , t h e C o m p u t e r S t y l e i s w h e n t h e l et t e r a s envi ronment becomes the l etter a s an Escherized m a z e . Computer Style i s t h e a l p h a b e t g o n e d i g i t a l , t y p o g r a p h y r e m o d e l l ed , r e m i x e d a n d e n cr y p t e d . T h e w r i t e r b e c o m e s Dj H y p e ' s c o m p u t e r i z e r . The B a t t l e o f P l a n e s I n t h e n o t e s for Rela ti vi ty, E s c h e r e x p l a i n s t h a t ' t h r e e g ra v i t a t i o n a l fo rces o p e r a t e p e r p en d i c u l a r l y ' . I n W i l d s t y l e , c i v i l w a r b r e a k s o u t b e t w e e n o p e r a t i n g " g ra v i t a t i o n a l forces '" s o t h a t ' b a c k g r o u n d a n d fo r e g ro u n d t a k e t u r n s c h a n g i n g fu n c t i o n s . A c o n t i n u i n g c o m p e t i t i o n e x i s t s b e t w e e n t h e two . ' To l o o k i s t o h a v e y o u r h e a d w r e c ke d . C o m p u t e r S t y l e i n v o l u t e s t h e s e n s e s , p u t s t h e m t h r o u g h a m e n t a l gym n a s i u m , r e a s s e m b l e s t h e s e n s o r i u m r e a d y for t h e h i - p r e s s u r e f u t u r e i t d e p i c t s . I t fo l d s t h e m i n d i n t o a n o r i g a m i s t a t e , a b a t t l e s t y l e . T h e s e n s e s a r e k i n a e s t h e t i ze d i n to an o r i g · • a r m y , armed for a c o n t e s t of l i n e s . To look is to be r o c k e t e d a c r o s s t h e p l a n es o f t h e l e t t e r , s h o t a l o n g d i a go n a l s t h a t c h a rge s pa c e w i th a c u t e d y n a m i c s , g ra d i e n ts t h a t r e v e r s e g r a v i ty l i ke s k y s c r a p e r s t h a t

05[074] d r i l l to t h e e a r t h ' s c o r e . T h e l e t te r f o r m b e c o m e s a c i ty o f p a ra l l e l l i n es o f fo r c e . T h e w o r d b e c o m e s a fu t u r e s c a p e h o s t i l e t o t r a d i t i o n a l s e n s o r i a . S u r fa c e s c o n v e rge to trap the o p t i c n e rve at a p o i n t o f m a x i m u m i m po s s i b i l i t y . S t a l ked b y a n g l e s , h u n t ed b y d i a g o n a l s , t h e h a r a s s e d eye w a n d e r s u n t i l i t ' s i m p a l e d o n t h e c o r n e r , p i n ce r e d by a p a r a l l a x p l a n e . Vec t o r s a n d h o r i zo n t a l s j o i n forces to p u s h t h e r e t i n a t o t h e r a zo r ' s e d g e . C o m p u t e r Sty l e C u b a s e d I n ' 8 6 , G o l d i e w r i tes t h e a e r og l y p h i c p i ec e Fu ture World Ma chine. P i c t o g ra m m a t i c a l l y s p e a k i n g , it i s C o m p u t e r S t y l e , C u b a s ed . W i t h ' 9 5 ' s Tim eless, C o m p u t er S t y l e m i g r a t e s a c r o s s d i ffere n t p h y s i c a l s c a l e s , j u m p s from t h e wa l l t o t h e s c r e e n . Tim eless i s t h e r e fo r e a s o n i c c a n v a s : ' A c r o s s t h e h o r i zo n ta l / A p a s s a g e t h r o u g h t h e c a n v a s , t h e p h a s e s o f m y l i fe . ' As E s c h e r p o i n t ed o u t , ' I c a n c o n c e i v e o f t h e s e r i e s o f i m a g e s o n a p l a n e d i v i s i o n [ C o m p u ter S t y l e ] a n d t h e s e q u e n c e o f s o u n d s o f a m u s i ca l c o m p o s i t i o n [j u n g l e] a s d i ffere n t s t e p s o f j u s t o n e s t a i rc a s e . ' Tim eless t r a n s l a t e s t h e 5 t h d i m e n s i o n o f C o m p u t e r S t y l e i n t o t h e h y p e rd i m e n s i o n s o f t h e v i r t u a l B r e a k b e a t . G o l d i e : ' T h e g r a ff i t i a r t i s t cracked the letter first. Now I use a Mac to do the same thi ng. The loops, they've been s c u l p ted, they're i n 4D. ' The 5th D i mension becomes the I n fi n i t e R e m i x o f D r u m ' n ' B a s s . H e n c e Term i n a t o r m u ta t e s i n t o a m e n a g e r i e of m o n s t ers from t h e l o w e n d : 4 v e r s i o n s o f Termina tor 2, TJ, r e m i x e s of T]. F r a g m e n t s of Tim eless a re t w i s t e d i n t o Inner Ci ty Life, jah, }ah remixes, 4 m o r e Inner Ci ty Life m i x e s . R e m i x i l l o g y I s t h e A rt - S c i e n c e o f t h e S e q u e l R e m i x o l o gy d o e s n ' t r e p l a c e a t r a c k so m u c h a s p ro l i fe r a t e i t i n to p a r a l l e l a l t e rd i m e n s i o n s . R e m i x o l o gy i s t h e s c i e n ce o f t h e s e q u e l a n d t h e a r t o f t h e d r a s t i c r e t r o fi t , t h e t o t a l r e m a ke , t h e r e m o d e l . R e m i x o l ogy i s d i g i t a l - i n d u s tr i a l . l t s t a r t s o u t a s d i g i t a l p r o c e s s , a s a n i m a t i o n o f t h e C u ba s ed b r e a k , a n d e n d s a s i n d u s t r i a l p r o c e s s , t h e dj ' s d e m a n d f o r t h e d u b p l a t e , t h e n e x t t r a c k , t h e fu t u r e s o u n d . T h e d u b p l a t e - t h e m e t a l a c e t a t e - i s fi c t i o n a l i z e d a s t h e M e t a l h e a d . T h e i n d u s t r i a l p r o c e s s e x t r u d e s t h e M e t a l h ea d z face - l ogo . W i t h i t s h e a d p h o n e a p p a r a t u s , e y e a n d n o s e s l i ts , i t ' s a r m o u r ed f o r w h a t 4 H e r o t e r m e d combat dancing. D i l l i nj a ' s j a h th e S e ven th S e a l i s a m a gn i fi e d d e t a i l f r o m t h e Timeless c a n v a s , a s l ow e d - d o w n b l ow - u p of one h y p e r d i m e n s i o n . B r e a k s b e c o m e

05[07 5 ) c h a i n s a s t i m e t u r n s t o m e t a l . R h y t h m p h a s e s h i ft s from n e e d l e p o i n t to i n d u s t r i a l in a w a r between m a c h i n e l i fe fo r m s o n t h e m e ta l l i c p l a t e a u x . Two d r u m b re a k s a re p r o c e s s e d u n t i l t h e y r a t t l e l i ke c h r o m e s n a ke t a i l s , pann i ng i n opposite ways around y o u r head. W h e n they meet they swa l l ow e a c h o t h e r a n d r e v e r s e b a c k w a rd s . S i m u l t a n e o u s l y , m a c h i n i c g ro a n s a n d wre n c h i n g m e ta l l i c s i g h s h e a v e a n d d r i ft a c r o s s t h e ove r l a p p i n g o r b i t s o f b o t h b r e a ks . T h e s e a r h y t h m i c n o i s e s c o m p e l a k i n d o f b od i l y s e i z u r e , a n a go n i z i n g m u s c u l a r c r i s i s , a s i f t h e m o to r c o o rd i n a t i o n n e e d e d f o r w a l k i n g , l e t a l o n e danci ng, has j u s t crashed from too much sensati o n . The seeth i n g m e t a l fa t i g u e o f jah th e Se ven th Seal i n d u c e s o u t b r e a k s o f l i te ra l l y h e a d w rec ki n ' s y n a p s e - w a r p i n g . Y o u r h e a d b e c o m e s t h i s g i a n t m u s c l e , t h i s m i n d l e s s , a g o n i z e d o r g a n t h a t d o es n ' t k n o w w h e r e t o p u t i t s e l f. The E n g i ne e r I s a n I m a g i n e e r A s e n g i n e e r R o b P l a y fo r d e l a b o r a t e s , e ffe c t s a r e t h e l e a d i n s tr u m e n t s . E ffects p l a y t h e b r e a k s : ' O n Timeless, t h e r e a re t h r e e s e c t i o n s o f s t r i n g s . T h e y ' re a l l t h e s a m e s o u n d s b u t e a c h s e c t i o n h a s a d i ffe r e n t s e t o f c o n t ro l s , l i ke p i t c h b e n d o r m o d u l a t i o n o r g a t i n g . ' Computer style visually anticipates the computerization o f rhythm. j u n g l e E s c h e r i ze s t h e b r e a k i n to d i g i t a l i n fo r m a t i o n , t h e ' d i ffe r e n t s t e p s o f j u s t o n e s t a i rc a s e ' . R o b P l a yford : ' We ' d go r o u n d a l o o p , f i l ter, e ffec t , p i tc h t h i n g s u p o r d o w n , t h e n p u t i t b a c k o n DAT. T h e n w e ' d p i c k u p t h a t s o u n d l a t e r o n a n d go t h r o u g h a d i ffe r e n t r o u t e w i t h t h e e ffects a n d fi l t e r s s o i t w o u l d e n d u p e v e n fa r t h e r a w a y f r o m w h a t w e ' d s t a r t e d w i t h . ' B r e a k b e a t s c i e n c e r i n s e s o u t l a n g u a g e , d e m a n d s n e w t e r m s l i ke ' s n a k i n g o u t a b r e a k or t u b i n g a s o u n d ' , t e c h n i c a l o p e ra t i o n s w h i c h g r a s p the passage o f rhythm through space. Configuring new sounds opens a p o s s i b i l i ty s p a c e i n s i d e t h e s c r e e n . I n s i d e t h e A k a i , a v i r t u a l t o p o l ogy u n fo l d s i ts e l f. I n s i d e t h e B r e a k b e a t , t h e s c i e n t i s t b a t t l es with t h e r h y th m a t i c a l w e a p o n s o f ' t h e z o r d , t h e b l a d e , t h e t w i s te r , t h e s u b s t a i n . '

05[07 6] Wi t h a s a m p le yo u ' ve t a k e n tim e . I t s till h a s t h e s a m e e n e rgy b u t y o u can r e v e r s e i t o r p r o l o n g it. Yo u c a n g e t t o t a lly wrap p e d up in i t . Yo u fe e l /ike y o u h a ve t u rn e d t i m e aro u n d A Guy Called Gerald The J u n g l e I s a F u t u rhyt h m a c h i n e R h y t h m i c p s y c h e d e l i a e m erges w h e n s o n i c e v e n t s a r e i n s y n c h w h i l e o u t o f p h a s e , a p r o c e s s w h i c h l e a d s t o G e r a l d ' s co n u n d r u m : ' D o e s t i m e w o r k i n r h y t h m o r d o e s r h y t h m w o r k i n t i m e ? ' A m a z o n · A fr i c a n j u n g l e s a r e • a c o u s t i ca l l y d i s o r i e n t a t i n g . H e i gh t , d e p t h a n d l o c a t i o n rev e r s e . R y u i c h i S a k a m o t o ' s R i o t i n Lagos a n d G e r a l d co m b i n e e l ec t r i c s i g n a l s , p u l s e s , b l i p s a n d k i c k d r u m s i n t o a s y n t h e t i c p s y c h ed e l i a , h u m m i n g b i r d s ' fe a t h e rs r u s t l i n g i n t h e c a n o p i e s . I n s t e a d o f rec o n n e c t i n g t h e h u m a n to n a t u r e , p o l y r h y t h m d e l e t e s t h e h u m a n f r o m t h e j u n g l e , i n t e n s i fy i n g i t i n t o a n a l i e n r h y t h m b o r d e r : ' Yo u c o u l d c r e a t e a s o u n d t h a t y o u co u l d n ' t q u i t e r e c og n i z e b e c a u s e i t w o u l d be g o i n g b a c kw a r d s . I ' d h a v e s o m et h i n g g o i n g forw a r d s f o r a b e a t a n d t h e n r e v e r s i n g f o r t h e o t h e r be a t . ' Ghosting out the Brea k O n Black Secre t Technology, Finley 's Rainbo w, The G/ok Track, Nazinji Zaka, b r e a k s r u s t l e , s h e d t h e i r s a n d p a p e r s k i n s . By s a m p l i n g a b r e a k , effe c t i n g i t a n d s u b t r a c t i n g t h e s a m p l e , G e ra l d g e n e r a t e s t h e g h o s t b r e a k : t h e d e r e a l i ze d w r a i t h r h y t h m w r i t h e s t h r o u g h o u t t h e d i g i t a l fo l i ag e . T h e b e a t i s a p o s t h u m a n b u s h o f g h o s t s . T h e S l e e v e n o t e M a n i fe s t o to Black Secre t Techn ology g r a s p s t h e i m p l i c a t i o n s o f c o m p u t e r i z i n g t h e b r e a k : ' W e h a v e a d v a n ce d to a l ev e l w h e r e we c a n c o n t r o l t i m e s o n i ca l l y b y s t re t c h i n g a s o u n d . . . we p l a y with time . ' Rhythm is plastic: 'Say someone has created a drumbeat. T h e y ' v e d o n e t h a t i n a s p a ce a n d t i m e . I f y o u t a k e t h e e n d a n d p u t t h a t a t t h e s t a r t , o r t a k e w h a t t h e y ' v e d o n e i n t h e m i d d l e , yo u ' re p l a y i n g w i th t i m e . W i t h a s a m p l e y o u ' v e t a k e n t i m e . I t s t i l l h a s t h e s a m e e n ergy b u t yo u c a n r e v e r s e i t o r p r o l o n g i t . Y o u c a n g e t t o t a l l y w r a p p e d u p i n i t . Y o u fe e l l i ke y o u h a v e t u r n e d t i m e a r o u n d . ' Each track teems w i t h i n h u m a n l y deta i led percus s i o n , which demands p o s t h u m a n m o t o r r e f l e x e s . C o u n t e r a n d c r o s s r h y t h m s t u g t h e b o d y i n to z i gz a g s , d a p p l i n g t h e e a r w i t h m i c r o d i s c r ep a n c i e s b e t w e e n b e a t s . Nazinji Zaka t u r n s t h e e a r i n t o a d i rect i o n a l m i ke t h a t ' s c o n s ta n t l y p u l l i ng fo c u s . As b e a t s e n s n a r e y o u i n t h e p a ra l l e l co m p l ex i ty o f t h e a m p l i fi e d j u n g l e , y o u r s k i n s t a r t s to fe e l w h a t y o u r e a r s c a n ' t . A t t h e s e c o n v e r g e n c e s ,

05[077) b e a t s p h a s e s h i ft , cross a t h r e s h o l d a n d b e c o m e t a c t i l e s e n s a t i o n s t h a t s u s s u ra t e t h e b o d y . F l e e t i n g s e n s a t i o n s o f fee l i n g s k i m a c r o s s t h e s k i n , seizing the synapses. Senses swap so that your skin hears and your ears fee l . D e rm a l e a r s . Yo u r s k i n t u r n s i n to o n e g i a n t a l l -o v e r e a r. E a r t a c t i l i ty . You r e a r s s t a r t t o t a s t e s o u n d . N o w y o u ' v e g o t f l a v a i n y o u r e a r. L i k e S a k a m o t o ' s Rio t in L agos, G e ra l d ' s Nazinji Zaka i s a fu tu r h y t h m i c p s y c h e d e l i a w h i c h s e i z es t h e s k i n i n i tc h y s c r a t c h y s e n s a t i o n s t h a t g a t h e r a ro u n d t h e j o i n t s , fro m t h e r e d i s p e r s i n g a c r o s s t h e d e r m a l s u r fa c e s . Y o u r m u s c l e s t e n s e a n d c o n t r a c t a s t h e y p u l l i n a n d o u t o f p e r ce p t u a l m o t o r fo c u s . F u t u r h y t h m a c h i n es c o m p l ex i fy t h e b e a t i n to w h a t K e l l y t e r m s a n ' a l i e n p o we r ' . W h e n p o l y r h y t h m p h a s es h i ft s i n t o h y p e r r h y th m , i t b e c o m e s u n a c c o u n t a b l e , c o m p o u n d e d , c o n fo u n d i n g . I t s c ra m b l e s t h e s e n s o r i u m , a d a p t s t h e h u m a n i n t o a ' d i s t r i bu te d b e i n g ' s t r u n g o u t a c r o s s t h e w e b b e d s p i d e rn e t s a n d c o m p u t a t i o n a l j u n g l e s o f t h e d i g i t a l d i a s p o r a .

06[07 8 ] PRO G RA M M I N G RHYTH M ATIC FRE Q U E N C I E S M i g ra t i o n Paths across the Vocoder Spectru m : Cybotro n , l a p p , D rexc iya It is the ra tio n a lizing a n d ordering im p o s e d by t e c h n o logy t h a t m a k e s u s fo rg e t t h a t m a ch i n e s h a ve t h e ir orig i n s in the irra t i o n a l Georges Canguilhem [ R ] e a rv i ew H e a r i n g T h e r e a r e n o d r u m - m a c h i n e s , o n l y r h y t h m s y n t h e s i z e r s p ro g r a m m i n g n e w i n te n s i t i e s fro m w h i te n o i s e , fre q u e n c i e s , w a v e fo r m s , a l t e r i n g s a m p l e d d r u m s o u n d s i n t o u n r e c o g n i z a b l e p i tc h e s . T h e d r u m - m a c h i n e h a s n ever s o u n d e d l i ke d r u m s b e c a u s e i t isn 't p e r c u s s i o n : i t ' s e l e c t ro n i c current, s y n t h e t i c percu s s i o n , syncu s s i o n . T h e s a m p l e r i s a t f i r s t termed a n ' e m u l a t o r ' , a s i f i t d o e s n o t h i n g b u t i m i t a t e e x i s t i n g s o u n d s . Ca l l i n g t h e r h y t h m s y n t h e s i ze r a d r u m - m a c h i n e i s y e t o n e m o r e e x a m p l e o f [ r l e a rv i e w h e a r i n g . E v e r y t i m e d e c e l e r a t e d m e d i a w r i t e s a b o u t s n a re s , h i h a t s , k i c k d r u m s , i t fa i t h fu l l y h e a r s b a c kw a r d s . E l e c t r o i gn o r e s t h i s v a i n

06[079] h o p e o f e m u l a t i n g d r u m s , a n d i n s t e a d progra m s r h y t h m s from e l ec t r i c i t y , r h y t h m a t i c i n te n s i t i e s w h i c h a re u n recogn i z a b l e a s d r u m s . T h e r e a r e n o s n a re s - j u s t w a v e f o r m s b e i n g a l ter e d . T h e r e a r e n o b a s s d r u m s - j u s t a tt a c k v e l o c i t i e s . Posthu m a n Rhyt h m a t i c s W i t h M a n Pa r r i s h , C y b o t r o n , H a a s h i m , S o u l S o n i c F o r c e a n d j o n z u n C r e w , the Roland 8o8 rhythm composer opens a new thresho l d , the progr a m m i n g o f p o s t h u m a n r h y t h m a t i c s a s p r e d i c t e d i n ' 3 6 b y c o m p o s e r E d g a rd V a r e s e : ' I n e e d a n e n t i r e l y n e w m e d i u m o f e x p r es s i o n : a s o u n d ­ p r o d u c i n g m a c h i n e . A n d h e r e a r e t h e a d v a n ta g e s I a n t i c i p a t e from s u c h a m a c h i n e : c ro s s r h y t h m s u n r e l a te d to e a c h o t h e r , t r e a t e d s i m u l t a n e o u s l y ; t h e m a c h i n e wou l d b e a b l e to b e a t a n y n u m b e r o f d e s i re d n o t e s , a n y s u b d i v i s i o n o f t h e m , o m i s s i o n o r fra c t i o n o f t h e m , a l l t h e s e i n a g i v e n u n i t o f m e a s u r e o r t i m e w h i c h i s h u m a n l y i m p o s s i b l e to a t t a i n . ' Th i s ' h u m a n l y i m p o s s i b l e ' t i m e , t h i s a u t o m a t i za t i o n o f r h y t h m w h i c h i s r h y t h m a t i c s , o p e n s u p t h e p o s t h u m a n m u l t i p l i ca t i o n o f r h y t h m : t h e r h y t h m s y n t h e s i z e r ' s s p a s t i c p u l s e s s e i z e t h e body, rew i r i n g t h e s e n s o r i u m i n a k i n a e s t h e t i c o f s h oc k c u t s a n d s t u tt e r s , a v o l u p t u o u s e p i l e p s y . Man Plus W i t h M a n t ro n i x , t h i s m a s s i ve a u g m e n t a t i o n o f r h y t h m c a p a b i l i t y b e c o m e s a n E l ec t ro n i c E n e rg y , a s u p e r s o n o t r o n i c p o w e r . M a n E l ec t r o n lies =I i x M a n tronix, the Rhyth m a c h i n e cyborg. The 'cs' i n ' tron i c s ' i s + • = c o m p r e s s e d to ' x ' , s o t h a t i t t r a n s m i ts t h e P h o n o C u r r e n t o f t h e M a n d r o i d . E l ec t r o i s e l e c t r i c i ty f i c t i o n a l i z e d i n to fu l l - fo r c e fa n t a s i e s o f freq u e n c i e s , r h y t h m s p r o g r a m m e d t o c a p t u re a n d c o m p e l , t r a p a n d trigger wetware motion. F u t u r h y t h m a c h i n e s t u r n t h e e x t e n d ed c a p a b i l i t y o f m a c h i n e s i n t o s u pe r s e n s o ry p o w e r s . E l ec t r o i s t h i s c r o s s f i re o f ' u n r e l a t e d c r o s s r h y t h m s ' , r h y t h m s t r e a t e d s i m u l ta n e o u s l y i n to p a r a d o x i c a l s o u n d ­ a n gu l a r a c c e n t s , z a p p - k i c ks , p a l m l e ss c l a p s , r i g i d b o u n c e s . I n R y u i c h i S a k a m o t o ' s Riot i n L agos, u n r e l a te d c r o s s r h y t h m s r e fra c t i n to a m a z e o f m i rr o r s refra c t i n g c i ca d a c r e a k s a n d c r i c k e t c r o a k s . E l e c t ro n i c r h y t h m s r u n i n p h a s e b u t o u t o f s y n c h , r e p e a t e d l y ove r l a p s p l i t s e c o n d s a p a r t , creating a stratum of seeth i n g, prehen s i l e tension. S i g n a l s i n terlock i n a w e b o f p u l s a t i o n s , a r h y t h m fo r e s t s h o w e r of s c r e a m s a n d r u s t l e t i m e . T h e b e a t b e c o m e s a s t a c c a t o p u l s a t i o n , t h e t w i t c h s h ru g - s t o p m o t i o n ­ popl ock-wavecut M o t i o n C a p t u r e o f e l ectric booga l o o . E l ectro i s the

06 [ 0 8 0 ) s p a s t i c e l e c t r i c i t y o f bod i e s g o i n g p o p , b r e a k fl o w i n g i n t i m e t o A r t o f N o i s e . ' 8 4 ' s Close Ito the Edi t] i s r i g i d i t y g o n e l o c o , c l o c kw o r k b r e a k i n g d o w n i n t o a c o n t ra p t i o n o f b a c k fi r i n g c a r , e x h a u s t fu m e s a n d p i s to n h i s s . O f fwo r l d E l e c t r o T h e E l e c t r o i n tro d ra w s y o u o ffw o r l d , i n to t h e u n i ve r s e o f t h e t r a c k . I t d e l i v e r s a r o b o t i k e l e k t r i c i t y , s p e e c h freq u e n c i e s fi l t e r e d i n to p h o n i c d i k t a t . I n O ffwo r l d E l e c t r o , t h e v o c o d e r i s a l l i d , g i d d i n e s s , e x t r e m e s o f n o n h u m a n h i g h / l o w p i t c h . A t t h e h i g h e n d , t h e E l ec t r o v o i c e i s a m a l i c i o u s gre m l i n . At t h e l o w e n d , i t ' s t h e V o i c e o f D o o m i s s u i n g t h e death command. Set t h e S o n o t r o n to S t u n O n j o n z u n C r e w ' s Space i s th e Pla ce. t h e A r k e s t r a l c h a n t b e c o m e s a w a rn i n g b l a s t r i g i d w i t h V a d e rv o l t a g e . I n s t e a d o f u s i n g s y n t h e s i s e r t o n e s to e m u l a t e s t r i n g q u a r t e t s . E l e c t r o d e p l o y s t h e m i n orga n i c a l l y , u n m u s i c a l ly. T h e synthesizer becomes a s o u n d wea p o n , becomes w h a t c o m p o s e r l a n n i s X e n a k i s ca l l s t h e S o n o t r o n , ' a n a c c e l e r a t o r o f s o n o r o u s particles, a d i s i n tegrator of sonorous matter', the son ic weapon which zapps ! y o u . T h e z a p p ! c o n s t r i c t s s p a ce b y t e n s i n g y o u r n e r v e s , g r i p p i n g w i t h t h e b a l e fu l h o s t i l i ty o f a n o ffw o r l d t a z e r . E l e c t r o t r i ggers Va d e r ' s E m p i re to s t u n . M a n P a r r i s h ' s 0 . 5 5 m i n t r a c k I n th e Begin ning i s a t y ra n n i c a l m i c r o v e r s e o f m a l ev o l e n t a v a t a r s w i t h v o c o d e r i d s . s n i c ke r i n g a n d b a b b l i n g m a n i ca l l y : ' I m a g i n e s o m e w h e r e i n t h i s u n i v e r s e a n a l i e n . H e was not made o f stone. H e was not made o f sand. H e was . . . check it out. humans, manmade . · A c r o s s t h e Voco d e r S p e c t r u m T h e v o c o d e r t u r n s t h e v o i c e i n to a s y n t h e s i ze r . E l e c t r o c r o s s e s t h e t h r e s h o l d o f s y n t h e t i c v o c a l i z a t i o n . b r e a k s o u t i n t o t h e n e w s pe c t r u m o f vo c a l s y n t h e s i s . I t s y n t h e s i zes t h e v o i c e i n t o v o l t a g e , i n t o a n e l e c t r o p h o n i c c h a rge t h a t g e t s d i re c t l y o n y o u r n e r v e s . Turn i n g t h e v o i c e i n to a s y n t h e t i c s p e c t r u m o f p e r v e r s e voc o - i m p s l e t s y o u ta l k w i t h c a r t o o n s . b e c o m e c a r t o o n , b e c o m e a n i m a l , b e c o m e s u p e r co m p u te r . j u s t a s m a c h i n e v i s i o n r u n s from i n fr a red to u l t r a v i o l e t , s o t h e v o c o d e r s p e c t r u m r u n s fro m h y p e r b a b b l e to u l t r a s l o w . I n i t i a l l y d e v e l o p e d a s G e r m a n m i l i t a ry t e c h n o l ogy fo r c a m o u f l a g i n g tra n s m i s s i o n s . t h e v o c o d e r c u t s o u t voca l freq u e n c i e s , p e t r i fy i n g t h e vo i ce i n t o a rob o t i k c u r r e n t , a n a n ta g o n i s t i ca l l y n o n h u m a n V o i c e o f D o o m .

06 [ 0 8 1 ] D a l eks, Stephen W . Hawki ng, B a m B a m , S l eezy D . L i l Lou i s : a l l c o m p r e s s freq u e n c i e s a n d p i t c h s h i ft v o i c e s i n to t h e V a d e r Vo d e r E f fe c t . D a r t h Va d e r ' s r u m b l e i s p r o c e s s e d t h ro u g h s e v e r a l s y s t e m s b e fo r e e m i t t i n g from h i s m e t a l g r i l l e . R ed u c i n g freq u e n c i e s to t h e rob o t i c o n l y i n te n s i fi e s t h e e m o t i o n a l c h a rge o f V a d e r ' s c r e d o , t h a t t h e r e i s ' p o w e r i n t h e D a rks i d e ' . T h e V a d e r V o d e r d r a i n s t h e v o i ce o f a ffec t t o i n c r e a s e i t s e f fe c t . D a r k e n e rgy c o r r o d e s t h e l a ry n x , d re d g i n g u p t h e t e n e b r a l t i m b r e s o f H a a s h i m ' s ' 8 6 Primrose Pa th . t h e D a r k s i d e o f E l e c t r o . C l e a r Y o u r M i n d / E r a s e Yo u r H e a d ' C l e a r a r e t h e s e D a y s . C l e a r To d a y . C l e a r. Y o u r . M i n d . ' I n ' B s ' s Clea r, fro m C y b o t ro n ' s d e b u t a l b u m En ter, a s p e d - u p c a r t o o n - i d v o i c e , g i d d y a n d g i gg l y , d u e t s w i t h a s l ow e d - d o w n V o i c e o f D o o m , i n s t r u c t i n g E l ec t r o kids to erase their heads. E l e c t r o R e s e q u e n c e s Yo u r N e rv e s E l ec t r o r e sy n t h e s i ze s T h e S o n g by t h e r h y t h m o f t h e a rc a d e g a m e , w h e re t h e c e n tra l p r o c es s i n g c h i p r e p l a c e s b e a t s w i t h s i g n a l s - p u l s a t i o n s - z a p p s t h a t b ru t a l l y o v e r r i d e y o u r o l d n e u r o m u s c u l a r s y s t e m , d e m a n d i n g a n i r r e g u l a r regu l a r i ty . S p a c e I n v a d e r s a n d Pac j a m a r e b a re l y r h y t h m s a t a l l . m o re a b a r b a r i c fre q u e n cy t h a t d i re c t l y i n t e r fa c e s w i t h t h e j u n c t i o n s b e t w e e n n e rve a n d m u s c l e , a l t e r i n g t h e n a t u r e o f a t t e n t i o n i n t o a n u n h ea l t h i l y s p a s m o d i c c o n c e n t ra t i o n . N o t so much m a l adroi t as m a landroid, E l ectro resequences your n e r v e s . A s c h o re o g r a p h e r M e rce C u n n i n g h a m p o i n t s o u t , ' E l e c t ro n i c m u s i c a ffects y o u r n e rves n o t y o u r m u s c l e s . I t ' s d i ffi c u l t to c o u n t e l e c t r i c i t y . ' E l e c t r o l i ke Tec h n o a ffe c t s n e rves a n d m u s c l e s . T h e r h y t h m i c d i s s o n a n c e o f ' c o u n t i n g e l e c tr i c i t y ' r e s e t s t h e s h a p e s o f s e n s a t i o n . d e m a n d s a n e w d y n a m o t i o n . E l e c t r o E r a LA L o c k e r s d a n ce r S h r i m p e xp l a i n s t h i s v i s i o n o f r h y t h m a s ' B o o ga l o o i n ' , r o l l i n ' o f t h e b o d y . I t ' s m a k i n ' y o u r b o d y d o w e i rd t h i n g s . L i k e fl u i d . ' Clear' s a n e m p a t h e t i c s y n c u s s i o n i s w h i t e n o i s e fi l t e r e d i n to i m p a l p a b l e c l a p s , s i b i l a n c e s h a r p e n e d i n t o a m a t c h fi r i n g s a n d p a p e r . S t r i d u l a t o r y t o n e s a l te r a t t a c k a n d l a u n c h a cr o s s s p a ce i n a n a u r a l fl i g h t p a t h t h a t p a ra l l e l s R o y L i c h t e n s te i n ' s Whaaam ! j e t - t ra i l .

06 [ 0 8 2 ] S i l v e r C yc l e s o f t h e P o l y r h y t h m a c h i n e G r oove i s w h e n o ve r l a p p i n g p a t t e r n s o f r h y t h m i n te r l o c k , w h e n b e a t s s y n c r o m e s h u n t i l t h e y g e n e r a t e a n a u t o m o t i o n e ffe c t , a n i n ex o ra b l e , e ffo r t l e s s s e n s a t i o n w h i c h p u s h e s y o u a l o n g from b e h i n d u n t i l yo u ' re f u n k y l i ke a t ra i n . To g e t i n to t h e G ro o v e i s to l o c k i n to t h e p o l y r h y t h m o t o r , t o be a d a p ted by a f i c t i o n a l i ze d r h y t h m e n g i n e w h i c h d ra w s y o u o n i ts o w n m o m e n t u m . T h e J B s ' /It 's n o t the Express] I t 's the }Bs ' Mona urail fi c t i o n a l i ze s t h i s fee l i n g o f s y n c ro m e s h , w h e n s p a c e s e i t h e r s i d e o f e x p e c t a t i o n l u re y o u i n to a i r p o c k e t s o f t i m e . O n t h e 7 5 a l b u m Hus tle Wi th Speed, F r e d M a rc e l l i n o ' s s l eeve s h o w s t h e M o n a u ra i l , a s i n g l e - t r a c k i n te r s t e l l a r r a i l w a y s n a k i n g r o u n d s a t e l l i t es with a s i l v e r b u l l e t t ra i n r u n n i n g s m o o t h l y a l o n g its fu n i c u l a r o r b i t . T h e M o n a u ra i l i s t h e R h y t h m o t o r v i s u a l i z e d a s t h e s i n g l e t r a c k a l o n g w h i c h t h e tra i n t r a v e l s . G ro o v e = Po l y R h y t h m e n g i n e = R h y t h m o to r , n o t p e r s o n i f i e d b u t m a c h i n i fi e d a s t r a i n a n d t r a c k t o g e t h e r , i n s t r a t u s p h u n k · · fu n k u l a r a u t o m o t i o n . F o r Kra ftwerk. 'Tra i n s t h e m s e l v e s a r e m u s i c a l - i n s t r u m e n t s . We w o u l d t r a v e l t h r o u g h l a n d s c a p e s a t n i g h t . ' S o u l S o n i c F o r c e ' s Plan e t Rock rero u t e s t h e s e r e n e d y n a m o t i o n o f t h e Trans Europ e Express t h r o u g h A m e r i c a . t h e m e t ro n o m i c R h y t h m e n g i n e p u l l i n g i t s e l f a h e a d , s y n t h s t u n e d i n to D o p p l e r e ffects w h i p p i n g p a s t y o u on a Berl i n platform. A u tobahn ' s m o t o rw a y m o t o r i k t u n e s ' o u r s y n t h e s i ze r s t o s o u n d l i ke m o t o r h o r n s . You can l i s t e n to A u tobahn and t h e n go and d r i v e o n t h e m o t o r w a y . T h e n y o u w i l l d i s co v e r t h a t y o u r c a r i s a m u s i c a l i n s t r u m e n t . ' K r a ftwe r k ' s fi n a l b a c h e l o r m a c h i n e s a r e t h e b i o m e c h a n i c a l b o y - r a c e r s o f t h e To ur d e France [Fran cois Kervorkian Remix]. W i t h b e a t s m a d e from p i s t o n s a n d g e a r s , r h y t h m s fa s h i o n e d from s h a rp i n ta k e s o f b r ea t h , h e l p l e s s , p l o s i v e e x h a l a t i o n s a n d a s t ra l h a rp s i c h o r d / h a r p s c i n t i l l a t i o n , To ur d e France c o u l d b e s e t i n a n a l l - n i g h t g y m . T h i s i s K r a ft w e r k a t t h e i r m o s t h o m oe r o t i c a l l y p h y s i c a l . L i ke O A F , i t c l o s e - m i ke s m a l e e x e r t i o n u n t i l i t b e c o m e s a n e w r h y t h m o t o r e x h a u s t fu m e . I n Tour de France, t h e ce l i b a t e c y b o r g ' s b e i n g r i d d e n by i t s b i ke , i t s s h e a t h e d b o d y fucked from b e h i n d by h a n d l e b a r s c u rv e d l i ke r a m h o r n s .

06 [ 0 8 3 ] Li q u i d D y s t o p i a D r e x c i y a d r a i n s t h e c l a p s , c o w b e l l s a n d t o m t o m s , s i p h o n s o ff t h e s a l s a from E l e c t r o . W i t h t h e v o c o d e r i d d e l e t e d , 9 0 s E l ec t r o b e c o m e s e v e n m o r e e n t h ra l l i n g , e v e n m o r e i n h i b i t i n g . S u c h t r a c k s a s ' 9 3 ' s Danger B a y a n d Posi tron Island a r e m o n s t e r s from t h e l o w e n d w h i c h s u b m erge y o u i n l i q u i d d y s t o p i a . A c r i d freq u e n c i e s c l e n c h t h e n e r v e s l i ke t a z e r s , o s c i l l a t i o n s w i n c e a c r o s s t h e b o d y i n wave m o t i o n , a b r a s i v e t o n e s r e m o v e c o t t o n w o o l f r o m y o u r e a r s a n d v i go ro u s l y s c o u r i n s i d e t h e b ra i n p a n . j a gged s n a re v e l o c i t i e s p i n c h t h e n e r v e s u n t i l y o u ' re l o cked u p t i g h t . Sea Snake 's s c o rc h i n g d e a t h r a y sweeps t h e s e a c r a t e r s w i t h i t s a c o u s t i c s e a rch l i g h t o f a s t r i n g e n t 3 0 3 . E a c h D r e x c i y a E P - from ' 9 2 ' s Deep Sea D weller, t h ro u g h Bubble Me tropolis, Molecular Enhancemen t, A qua tic In vasion, The Unkno wn Aquazone, The journey Home a n d Re turn of Drexciya to ' 9 7 ' s Un charted m i l i ta r i ze s P a r l i a m e n t ' s 7 0 s and H e n d r i x ' s 6os A t l a n te a n a q u a to p i a s . - Th e i r u n d e r w a t e r p a r a d i s e i s h y d r o t e r r i t o r i a l i z ed i n t o a g e o p o l i t i c a l s u b co n t i n e n t m a p p e d t h r o u g h c a r to g r a p h i c t r a c k t i t l e s : Positron Islan d, Danger Bay, The Red Hills of Lardossa, The Basa lt Zone 4- 9 77Z, The In visible Ci ty, Dead Man 's Reef, Vampire Island, Neon Falls, Bubble Me trop olis. T h e B e r m u d a Tri a n g l e b e c o m e s a b a s s t a t i o n from w h i c h wavej u m p e r c o m m a n d o s a n d t h e ' d re a d e d D r e x c i y a s t i n g r a y a n d b a r r a c u d a b a t ta l i o n s ' l a u n c h t h e i r A q u a t i c I n v a s i o n a ga i n s t t h e A u d i o V i s u a l Progra m m e r s . Marine M u t a t i o n across t h e B l a ck A t l a n t i c E v e ry D r e x c i y a E P n a v i g a t e s t h e d e p t h s o f t h e B l a c k A t l a n t i c , t h e s u b m e rged wo r l d s p o p u l a ted by D r e x c i y a n s , L a r d o s s a n s , D a r t h o u ve n F i s h M e n a n d M u t a n t G i l l m e n . I n t h e S l e e v e n o t e s to The Oues t, t h e i r ' 97 concept double C D , the Dre x c i y a ns a r e re v e a led to be a ma r i ne spec i e s d e s c e n d e d f r o m ' p reg n a n t A m e r i c a - b o u n d A f r i c a n s l a v e s ' t h r o w n o v e r b o a r d ' b y t h e t h o u s a n d s d u r i n g l a b o u r fo r b e i n g s i ck a n d d i s r u p t i ve c a r g o . C o u l d i t be po s s i b l e for h u m a n s to b r e a t h e u n d erwa t e r? A fo e t u s i n i ts m o t h e r ' s w o m b i s c e r ta i n l y a l i v e i n a n a q u a t i c e n v i r o n m e n t . I s i t poss i b l e that t h e y cou ld h a v e g i v e n b i rth a t sea to b a b i e s that never n e e d e d a i r? R e ce n t e x p e r i m e n t s h a v e s h o w n m i c e a b l e to b r e a t h e l i q u i d oxyge n , a p r e m a t u r e h u m a n i n fa n t s a v e d from c e r t a i n d e a t h b y b r ea t h i n g l i q u i d o x y g e n t h ro u g h i t s u n d e r d e v e l o p e d l u n g s . T h e s e f a c t s c o m b i n e d w i t h r e p o rted s i g h t i n g s o f G i l l m e n a n d S wa m p M o n s t e r s i n t h e c o a s t a l swa m p s o f t h e S o u t h e a s t e r n U n i ted S t a tes m a ke t h e s l a v e t ra d e t h e o r y

06[084] s t a r t l i n g l y fe a s i b l e . ' D r exc i y a n s a r e ' w a t e r b r e a t h i n g , a q u a t i c a l l y m u ta te d d e s c e n d a n ts , ' w e b b e d m u t a n t s o f t h e B l a c k A t l a n t i c , a m p h i b i a n s a d a p te d for t h e ocea n ' s abyssal p l a i n s , a phylum d i sconnected from the a l i e n s who a d a p t e d to l a n d . A s M a r k S i n ke r a rg u e d i n ' 9 2 , ' T h e s h i p s l a n d e d l o n g a g o : t h e y a l re a d y l a i d w a s t e w h o l e s o c i e t i e s , a b d u c t e d a n d g e n e t i c a l l y a l t e r e d w h o l e s w a t h e s o f c i t i ze n r y . A f r i c a a n d A m e r i c a - a n d s o b y e x t e n s i o n E u ro p e a n d A s i a - a re a l re a d y i n t h e i r v a r i o u s w a y s A l i e n N a t i on . ' Drexciya use electron ics to replay the a l ien abduction o f s l avery w i t h a fi c t i o n a l o u t c o m e : ' D i d t h e y m i gr a t e from t h e G u l f o f M e x i c o to t h e M i s s i s s i p p i River B a s i n and to t h e G re a t L a k e s o f M i c h i g a n ? D o they wa l k a m o n g u s ? A r e t h e y m o r e a d v a n ce d than u s ? ' S i n k e r ' s b r e a k t h r o u g h i s to b r i n g a l i e n a b d u c t i o n b a c k t o e a r t h , t o t ra n s fe r t h e t r a u m a f r o m o u t t h e r e t o y e s t e r n o w . T h e b o r d e r b e t w e e n s o c i a l rea l i ty a n d s c i e n c e f i c t i o n , s oc i a l f i c t i o n a n d s c i e n c e rea l i ty i s a n o p t i c a l i l l u s i o n , a s D o n n a H a ra w a y h a s p o i n te d o u t . T h e y h a v e b e e n h e r e a l l a l o n g a n d t h e y a r e y o u . Y o u a r e t h e a l i e n y o u a r e l o o k i n g fo r . Fictionalizing Frequencies D r e x c i y a fi c t i o n a l i z e freq u e n c i e s i n t o s o u n d p i c t u r e s o f u n r e a l e n v i r o n m e n t s - w h a t Kra ftwerk t e r m e d t o n e fi l m s - n o t fi l l e d w i t h c a r s , b i k e s o r tra i n s b u t r a t h e r U A O s , s o u n d cr a f t s . I n ' 9 3 ' s Bubble Me tropolis, l a r d o s s a n C r u i s e r 8 - 2 0 3 X p r e p a r e s to d o c k . T h e t o n e s of a h y d r o t h e r m a l t u rb i n e e n g i n e s h i ft g e a r s . T h e y f i c t i o n a l i z e t h e p s y c h o a c o u s t i c v o l u m e o f a g i a n t s u b m e rs i b l e : ' Th i s i s D r e x cy i a n C r u i s e C o n t r o l B u b b l e I t o La r d o s s a n C r u i s e r 8 d a s h 2 0 3 X . P l e a s e d e c r e a s e y o u r s p e e d to I p o i n t 7 8 8 p o i n t 4 k i l o b a h n . U n k n o w n t u rb i n e e n g i n e s l ows d o w n . Th a n k y o u . l a r d o s s a n C r u i s e r 8 d a s h 2 0 3 X p l e a s e u s e e x t r a c a u t i o n a s you p a s s t h e a q u a c o n s t r u c t i o n s i t e o n t h e s i d e o f t h e a q u a b a h n . I repea t : Proceed w i t h C a u t i o n . la r d o s s a n C r u i s e r 8 dash 203 X y o u a re n o w c l e a re d fo r docking. Have a nice stay here o n Drexciya. I ' m Drexciyan Cruiser Con trol X 205. If you have any problems let m e know. Bubble Control Out . ' I n a W a r w i t h o u t We a p o n s The B l a c k A t l a n t e a n d e p t h s a r e a s l e t h a l a s t h e R e d P l a n e t o r T h e R i n g s o f S a t u r n . W i t h t h e Molecular Enhancemen t E P, t h e o c e a n f l o o r b e c o m e s t h e 5 t h fro n t i n T h e F o r e v e r W a r . D r e x c i y a n t e c h n o l ogy s o l i d i fi e s t h e o c e a n i n to h y d r o c u b e s . T h e s e b l oc s o f s o l i d w a t e r a r e p a r t o f t h e e l e c t r o fi c t i o n a l a r s e n a l o f A n t i v a p o r W a v e s , A q u a t i c B a t a Pa r t i c l e s a n d

06[ 0 8 5 ] I n te n s i f i e d M a g n e t ro n s . T h e m a g n e t ro n i s t h e h e a r t o f t h e ra d i ow a v e t ra n s m i t t e r , u s e d t o p o w e r a i r b o r n e m i c r o w a v e r a d a r s e t s d u r i n g W W z . A s A r t h u r C . C l a rke e x p l a i n s , ' W h e n t h e first e x p e r i m e n t a l m a g n e t r o n was c a r r i e d t o A m e r i c a , t h e f a c e o f w a r c h a n ged o v e r a w e e k e n d . j a p a n e s e s c i e n t i s ts h a d m a d e a n d t e s t e d a n i d e n t i c a l d e v i c e a y e a r b e fo r e t h e B r i t i s h . I f t h e y h a d fo l l ow e d u p t h e i r i n v e n t i o n w e w o u l d n o w b e l i v i n g i n a v e r y d i ffe r e n t w o r l d . ' Te c h n o l ogy g e n e r a t e s t h e p r o c e s s S u n R a t e r m s a n A l te r D e s t i n y , a b i fu r ca t i o n i n t i m e . T h e m a g n e t r o n m i gr a t e s a c r o s s t h e m e d i a s c a p e , c h a n g i n g s ca l e from M a rv e l C o m i c s 6 o s s u p e rv i l l a i n M a g n e t o , l e a d e r o f t h e E v i l M u t a n t s , t o D r e x c i ya ' s In tensified Magn e tron, t o K i l l a h P r i e s t ' s 'magnetron w h i ch puts your arteries back a p a r t ' . Vi d e o g a m e s a r e t h e firs t s te p in a p l a n fo r m a ch in e s t o h e lp t h e h u m a n r a c e , t h e o n ly p l a n t h a t o ffe rs a fu t u re fo r in t e llig e n ce Chris Marker Yo u ' r e i n t h e M i l i t a ry E n t e r t a i n m e n t C o m p l e x E l e c t ro i s a n E - Z l e a rn i n d u c t i o n i n to t h e m i l i t a r i z a t i o n o f p o p l i fe , t h e s e n s u a l i z i n g o f m i l i ta r i z a t i o n , t h e e n h a n ce d s e n s o r i u m o f l o c k i n g i n to t h e F u t u r h y t h m a c h i n e . F r o m t h e N e t to a r c a d e s i m u l a t i o n g a m e s , c i v i l society i s a l l j u s t one g i a n t research - a n d -development wing o f the m i l i t a ry. T h e m i l i ta ry i n d u s t r i a l c o m p l ex h a s a d v a n c ed d e c a d e s a h e a d o f c i v i l s o c i e ty, b e c o m i n g a l e t h a l m i l i ta r y - e n t e r t a i n m e n t c o m p l e x . T h e M E C preprogram s preda tory v i r t u a l futures . Fa r from b e i n g t h e genera t i v e s o u rce for p o p c u l tu r e , as Tra d m e d i a s t i l l q u a i n t l y i n s i s t s , t h e s t reet i s n o w m e r e l y t h e p l a yg r o u n d i n w h i c h l ow - e n d deve l o p m e n ts o f m i l i ta ry t e c h n o l ogy a r e u n l e a s h e d , to m u ta te t h e m s e l v e s .

06[0 8 6 ) Rhyt h m at i c B a c h e l o r M a c h i n e s : Kraftwerk T a p t h e P o we r s p o t : I t ' s a R a v e N ew Wo r l d A s w i t h U n dergro u n d R e s i s ta n c e , Kra ftwe r k i n s t a l l e d t h e m s e l ve s i n s i d e t h e m i l i t a r y c o m p l e x , t h e n e x u s o f p o s t h u m a n i z a t i o n w h i c h u s e d to b e c a l l ed d e h u m a n i z a t i o n . They t a p ped t h e p o w e r s p o t s o f i n d u s t r i a l i z a t i o n t h r o u g h ' t h e fa c t o r i e s t h a t p l u g i n to the n e tw o r k ' w h i c h ' w e r e m a k i n g t h e s y n t h e s i s e r s ' f l u c t u a te i n a factory ' s y n t h • • • h u m a n c i r c u i t . The K l i ng K l a n g s t u d i o i s a d e l i v e ry r o o m fo r m a c h i n e l i fe fo r m s . B y n a m i n g t h e m s e l ves ' powerp l a n t ' K r a ftwerk t u r n o n t o t h e i n d u s t r i a l p ro c e s s , s w i tc h i n g o n t h e a s s e m b l y l i n e i n s te a d o f res i s t i n g i t i n t h e n a m e o f t h e h u m a n . For ' 7 5 ' s Radioactivi ty t h e y v i s i ted a n u c l e a r powerp l a n t , p l u gg i n g t h e m s e l ves i n to a t o m i c e n e rgy, i rrad i a t i n g t h e m s e l ves w i t h n u c l e a r power. S o r r o w S o n g s for the S o u l s o f S e rv o m e c h a n i s m s N o r b e r t W i e n e r ' s The Human Use o f Human Beings i s W . E . B . D u B o i s ' The Souls of Black Folk u p d a ted fo r t h e A n a l o g A g e . I n K r a ft w e r k , t h e s p e a k ­ a n d - s p e l l . v o i c e s a r e m o r e c h i l d l i ke t h a n l u l l a b i e s , fo s s i l s f r o m t h e fu t u r e ' s p a s t . V o i c e - a c t i v a ted s y s t e m s s e p a r a t e i n t e n t i o n f r o m r e s u l t . W h i l e t h e h u m a n s e n s o r i u m g o e s fro m s p e e c h to t o u c h , t h e m a c h i n i c s e n s o ry a p p a r a t u s s t a r t s w i t h t o u c h - b u t t o n s a n d k n o b s , fa d e r s a n d s l i d e r s ­ b e fo r e m o v i n g to s p e e c h p r o c e s s i n g . T h e c h i l d h o o d o f m a c h i n e s b e g i n s w i t h s p e a k - a n d - s p e l l t o y s , a r c a d e ga m e s , Lea r n - to - s p e a k - F r e n c h r e c o r d s , s o ft - d r i n k d i s p e n s e r s , a n s a fo n e s , t r a i n d o o r s a n d c a s h p o i n t s . K r a ftwerk s i n g t h e S o u l o f Service M a c h i n e s , die Seele der Servomekanism us. M a c h i n e s t a ke over r e p e t i t i v e j o b s . K r a ft w e r k ' s p o l i te n e s s and s l y c i v i l i ty i s p o i g n a n t b e c a u s e ' a u t o m a t i c m a c h i n e s a r e t h e p r e c i s e ec o n o m i c e q u i v a l e n t o f s l a v e l a b o u r . ' T h e S e x O r g a n s o f t h e Syn t h e s i z e r S t a n d a r d i za t i o n . m e c h a n i z a t i o n , a u t o m a t i o n , e n e rva t i o n , i n h i b i t i o n , r a d i a t i o n ! Tract rock ' s d r i v e c o m e s from r e p e l l i n g s u c h v a m p i r i c p r o c e s s e s o f c a p i ta l . B u t g i v i n g i n t o t h e m a c h i n e s , t h i s i s w h a t ' s s o c o m p e l l i n g h e r e , h o w K r a ft w e r k w e n t i n to t h e b i o n i c h e a r t o f t h e machine, what came out the other side. I n s t e a d o f d e n y i n g t h e a u t o m a t i c , K r a ft w e r k e x a gg e r a t e i t . T h e y o p e r a t e s y n t h e s i z e r s , b u t rea l l y t e c h n o l ogy i s s y n t h e s i z i n g t h e m . T h e y do n ' t r e s i s t t h e s y n t h e t i c , t h e y g i v e i n to i t , e n s l a ve t h e m s e l ve s , a l l o w

06[087] tec h n o l ogy t o r e p r o g r a m t h e m , t o r e s e q u e n c e t h e m , t o e x t r u d e them a s t h e S e r v o m ec h a n i s m s o f t h e S y n t h . S h o w r o o m d u m m i e s , menschmaschines, r o b o t s a n d m o d e l s : t h e s e a r e t h e n e w g e n e r a t i o n s o f s e x o r ga n s t h e s y n t h e s i ze r s n e e d i n o r d e r t o r e p r o d u c e t h e m s e l v e s : t h e b a c h e l o r m a c h i n e s w i t h o u t t h e i r m e c h a n i c a l b r i d e s . N e u te r e d a n d bloodless, they move along pla nes of sheer chromo l u m i nance. B y t o t a l l y s u cc u m b i n g to t e c h n o l ogy, K r a ftwerk l e t t h e m a c h i n e s d e l i b i d i n i z e t h e m , d ra i n a l l t h e p h y s i c a l i ty o u t o f t h e m . W a r h o l c l o n e d h i m s e l f i n to Wa r h o l a ro i d s fo r i n t e r v i e w s ; G i l b e r t a n d G e o rge r e m o d e l l ed t h e m s e l v es a s a u t o - m a n n e q u i n s . In t h e K r a ftwerk e c o l ogy c e l i b a t e m a c h i n e s p e r fo r m a u to - r e p r o d u c t i o n r i t u a l s . Zapped ! I n E l ec t r o , t h i s f l e s h l e s s r i g i d i t y c o n v e rges w i t h t h e s p i n e l e s s e l e c t r o i d o f Z a p p . W i t h R o g e r Tro u t m a n ' s Z a p p , e l ec t r o n i c s + a n d r o i d = the e l ec t r o i d z a p p e d ! by a b l a s t from a n u n k n o w n S o n o t r o n . D a n c i n g t o Z a p p i s b e i n g h i t by e l e c t r i c c u r r e n t t h a t c o n v u l s e s y o u i n t o s p a s m . S h r i m p t h e d a n c e r e x p l a i n s t h a t ' More Bounce to th e Ounce h e l p e d g i v e b i r t h t o [ b o d y ) po p p i n ' . Tha t ' s t h e o n l y s t y l e o f d a n c e y o u c a n s e e t h a t goes w i t h that kind of music. ' I n s t e a d of b r e a k i n g T h e S o n g d o w n to a j a m e s B r o w n b r i d g e , More Bounce r ed e s i g n e d fu n k ' s a r c h i t e c t u r e , s t r e t c h i n g The S o n g i n to h y p n o m o n o t o n y , a r u b b e r m a n tra t h a t s q u e ezed y o u r s e n s e s o u t o f s h a p e w h i l e s e i z i n g t h e m w i t h i ts s h e e t - m e t a l c l a p . This e m p h a s i s on c o u n t i n g electricity m e a n s that t h e Zapp track gets d i re c t l y o n y o u r n e rv e s a n d m u s c l e s . I n c r o s s i n g t h e t h r e s h o l d e l u c i d a ted by M e rce C u n n i n g h a m , Trou t m a n ' s a l b u m s i n d u c e a n u n n e r v i n g b o n e l e s s s e n s a t i o n . Yo u r s p i n e ' s b e i n g fi l l e ted a n d i t fe e l s j u s t grea t . C o n t r o l Yo u r C o n v u l s i o n s Z a p p a l t e r s t h e r e f l e x e s , a d a p t i n g t h e h u m a n i n to t h e e l e c t ro i d , t h e e l ec t r o n i c a n d r o i d w h o t u r n e l e c t r i c s h o c k i n t o c o n t r o l l e d c o n v u l s i o n , an E-Z roller of Stopmotion Capture. E l ec t r i c b o o g a l o o i s w h e n t h e b o d y rece i v e s t h e Z a p p a n d t ra n s m i t s i t a s a d y n a m i c fo rce . T h e n e r v e s c o u n t t h e c u r r e n t , c o n v u l s i o n s b e c o m e c l oc k s , t h e s p a s t i c t oc t i c s o f e l a b o r a t e d p e r s o n a l t i m e s y s t e m s . T h e E l e c t r o d a n c e r g o e s i n to ' a s q u a re ro l l o u t w h e r e h e t i c ks h i s w h o l e b o d y a n d g o e s i n to t h e s p l i t s . ' The double move o f cu twave , breakflow sends a current through the •

06[ 0 8 8 ] j o i n t s i n a s y n t h e t i c s e i z u re t h a t ' s every w h i c h w a y b u t l o o s e . Z a p p turns the human i n to a symbiou n i t . 'When you pop. ' S h r i m p e l u c i d a t e s , y o u r b o d y m a p a l t e r s a n d ' y o u b e c o m e t h i s t h i n g . Y o u go t o a n o t h e r p l a n e t . I g o t i n to t h i s t h i n g w h e r e I w a n t e d t o b e a n a l i e n . ' Liquefy the Menschmaschine Z a p p ' s ' 8 6 Compu ter L o ve o p e n s w i t h a b e w i t c h i n g c h o i r - i d e n t i fi e d by S i m o n R e yn o l d s a s a n d r o i d d o o w o p - a n n o u n c i n g ' C o m p u te r i i i Z E ' . l i k e a ge n i e g ra n t i n g a r o b o t ' s w i s h . K r a ftw e r k ' s v o c o d e r c h o r a l e i s w i n s o m e wh i l e Z a p p ' s v o c o d e r c h o r a l e i s l i q u e f i e d . Z a p p i s t h e m enschmaschine gone g o o e y . 'We a re b eg i n n i n g to s e e . ' c h a o s - t h e o r i s t M a n u e l D e L a n d a a rg u e s , ' t h a t t h e r e a l l y a d v a n c e d h i gh t e c h n o l ogy i s l i q u i d y a n d d r i p p y a n d s e l f o r g a n i z i n g a n d n o t a t a l l r i g i d . ' I n More Bounce to t h e Ounce, the s y n t h e t i c b a s s d o e s n ' t d r o p ; i n s te a d it b o u n c es o ff the b o t t o m . W h e r e t h e B o o t s y Co l l i n s b a s s i s a r h y t h m e l o d i c e c t o p l a s m . g l u t i n o u s a n d r u b b e ry, t h e Z a p p b a s s i s S p a n d e x s t re t c h y . PhonoGiutamate · L a r r y G r a h a m s e n t t h e b a s s t h r o u g h fuzz u n t i l i t y a w n e d a n d s l u r red l i ke a b a b y m a m m o t h . W i t h Z a p p , R o g e r Tro u t m a n ' s v o i c e i s a l l vowe l . a n e e s y s q u ezy s q u i d ge o f p h o n o g l u t a m a t e , v o c o - c o n c e n t r a t e . T h e s y n t h e s i z e r p a s s e s t h r o u g h h i s v o c a l t r a c t . O n I Pla y t h e Talkbox. t h e R o g e r v o i c e i s t u b u l a r t r e b l e s q u e e z e d f r o m a ta l kb o x . F o r Pa r l i a m e n t . t h e s o u n d e ffe c t i m m e d i a te l y i m p l i e s a n a u d i o l i fe fo r m . a u n i v e r s e i n w h i c h a p r o c e s s e d s o u n d t a k e s o n a n a n i m a t ro n i c n o n h u m a n p r o fi l e . W i t h Z a p p , y o u ' re i n s i d e t h e i m p a c t . b a t h e d i n t h e fu l l e f fe c t o f t h e S R a y g u n , i n w h a t Te c h n o p r o d u c e r Kev i n S a u n d e r s o n l a ter terms Essr'ays.

06 [ 0 8 9 ] Machine To n e s for Psychic Therapy: The J u n g l e Brothers For a ve ry l o n g tim e e ve ryb o dy re fu s e s a n d t h e n a lm o s t wi th o u t a p a u s e a lm o s t e ve ryb o dy a c c e p ts Gertrude Stein M u t i ny o n t h e M o t h e r s h i p You r e s e r v e y o u r n a u s e a for t h e t i m e l e s s c l a s s i c , for t h e a n t h e m s t h a t s u m u p a n e p o c h . B u t T h e j u n g l e B r o t h e r s , G eo r g e R u s s e l l , T r i c k y : t h e s e a r e p r o d u c e r s w h o d o n ' t s y n c h r o n i z e y o u i n t o t h o s e d oc i l e r a n ks - a n d ­ fi l e s k n o w n a s g e n e ra t i o n s . I n f a c t t h e y s h a t t e r y o u i n t o s e n s o ry p a r t i c l e s , t r a ve l l i n g a t t h e s p e e d o f t h o u g h t , b r e a k c o n s e n s u a l h i s to r y i n to d u s t . I n s t e a d o f r i s i n g a bove t h e i r t i m e , t h e j u n g l e B r o t h e r s - A f r i ka B a b y Bam bass and v o c a l s , dj S a m m y B , M i ke G g u i ta r and v o c a l s , T o r t u r e drums and voca l s - runs H i p H o p through a p a r t i c l e accelerator, charging rea l i ty w i t h t h e s y n t h e t i c s e n s a t i o n y o u c r a v e a t a l l c o s t s . T h e i r 3 r d a l b u m , ' 9 3 ' s j Beez Wi t the Remedy, i s to t h e 9 0 s w h a t T h e Ve l v e t U n d e rgrou n d ' s White Ligh t/White Hea t w a s to t h e 6 o s : t h e dec a d e ' s g r e a t l o s t a l b u m , a c o l o s s a l e p i c s a l va ge d f r o m t h e wreckage o f t h e u n re l e a s e d Crazy Wisdom, a c k n o w l e d ged b y a few, rev i l e d by T r a d H i p H o p fa n a t i c s o n b o t h s i d e s o f t h e A t l a n t i c . Dera i l t h e Rhyt h m o t o r I n a n e r a o f h e a d n o d d i n ' 1 2 o b p m g r o o v e s , Rem edy r e t u r n s t o t h e r i g i d r h y t h m a t i c s o f r h y t h m s y n t h e s i s . T h e s e c u r i ty o f t h e T r a d j a zzbrea k i s s m a s h e d , l e ft b e h i n d f o r t h e d r a s t i c a l l y u n m u s i c a l p u l s a t i o n s a n d b l e e p s , t h a t f l a g ra n t l y m e ka n i k a l r h y t h m a n i p u l a t i o n t h a t H i p H o p t h o u g h t i t b a n i s h e d b a c k i n t h e 8 o s . Manmade Ma terial a b a n d o n s t h e l o p e o f 70s B r e a k b e a t s a l t o g e t h e r , p u s h i n g r o bo t i c i r regu l a r i ty i n t o m a ch i n e p s yc h e d e l i a . ' I t w a s n ' t l o o p i n g o n e b a r , 4 b e a t s , b u t l o o p i n g 6 b e a t s , ' t h e j u n g l e B r o t h e r s d e c l a r e d . ' A r h yt h m i c , a s y m m e t r i c a l , a l i n e a r . S o w h a t w e ' v e b e e n d o i n g co n s i s te n t l y i s i n te n t i o n a l l y d e ra i l i n g y o u r b ra i n . ' T h e l o o p fu n c t i o n e n t ra i n s t h e b o d y , p r o g ra m m i n g t h e h e a d u n t i l i t n o d s l i ke a dog. H i p H o p h a b i tuates the m i n d u n t i l i t runs a l o n g the same grooves b u t t h e a r h y t h m i c l o o p u n d e r m i n e s t h e s t e p p e r , d e ra i l s t h e r h y t h m o to r , w i t h i t s u n re s o l v e d d i s s o n a n c e , n o t a rr a n g e m e n t s b u t d e r a n ge m e n t s , wron g - fo o t e d , d y s f u n k t i o n a l .

06 [ 0 9 0 ] Concrete T h e j u n g l e B r o t h e r s d r a w o n H i p H o p ' s red i s c o v e r y o f v i n y l concrete: t h e s n a p , c r a c k l e a n d p o p o f w o r n v i n y l a n d a n s a fo n e h u m . H e re , concrete b u r s t s the b a n k s of s a m p l e m e m o ry , s u ffu s i n g every t h i n g , r e o r g a n i z i n g a l l o f t e x t u r h y t h m e l o d y . G r oove i n 8/ahb/udify i s s a t u r a t e d i n s t a t i c u n t i l i t c o l l a p s e s i n to s a t i s fy i n g l y e l ec t r o a c o u s t i c d e b r i s . B e a t s a r e r e p l a c e d b y b u m p s , g l i tc h e s , g u s t s , t h e d i s t r e s s e d l a s e r fa i l i n g to r e a d t h e c d ' s i n fo r m a t i o n . Yo u f e e l ' t h e w i n d o f t h e w i n g s o f m a d n e s s ' , l i ke t h e m o m e n t w h e n C h r i s to p h e r Wa l ke n q u o te s B a u d e l a i re to L i l i Ta y l o r i n A b e l Fe r r a r a ' s The A ddiction. A l l t h e l o w e n d s u c c u m b s to s c r a t c h e s , vinyl gouged by an obe l i s k o f a need l e . T h e s o u n d s p l i ts a c r o s s s p e a k e r s , r e p e a t e d r o u n d s o f d r u m ­ m a c h i n e g u n i n t h e r i g h t , s h u d d e r i n g d e t r i t u s from t h e l e ft . A r c a d ega m e s o u n d e ffe c t s s t r a fe y o u r b o d y i n a v i c i o u s c r o s s f i r e . S o n i c r u b b l e fa l l s f r o m t h e s p e a k e r b e h i n d y o u r b a c k , s e i z i n g y o u r m u s c l e s a s t h e y p l u n ge t h r o u g h y o u r w a i s t o n t h e i r j o u r n e y to t h e h e a d . Headless H i p H o p p l a y ed b y a b a n d a l w a y s m e a n s n i c e ' n ' e a s y fu n k . B u t t h e ' N o w ' o f l i ve H i p H o p s t r a n d s y o u i n a p r e d i g i t a l p r e s e n t , l e a v e s y o u t r a p p e d i n s o m e o n e e l s e ' s ' 7 2 . P r e p rogra m m e d l o o p s c a n i te r a t e i n t o i n fi n i t y a n d yo u ' l l n e v e r g e t b o r e d - b u t t h e m e r e s t h i n t o f r e a l - t i m e s p o n t a n e i ty m o r t a l l y d r a i n s y o u . H e re l i ve i s n ' t r o o t s i c a l , i t ' s a r h y t h m i c , t h e R h y t h m e n g i n e o f a s a m p l a d e l i c m e s s t h e t i c t h a t f l u c t u a te s t h e f u n k b y frea k i n g w i t h t h e freek f r e e k . W h e re p o s t - O r O r e G a n g s t a r a p p r o m o t e s a l o l l i n g i n d o l e n t d e l i v e r y , H i p H o p p o e t i c s f r o m A rr e s t e d D e v e l o p m e n t to t h e R o o t s , F r e e s t y l e Fe l l o w s h i p t o t h e F u g e e s , o p t s f o r a v e r b o s e v e r b a l a c r o b a t i c s . F o r t h e m , H i p Ho p ' s future l i es i n a g y m n a s t i c s o f s y n t a x , i n terna l r h y m e s t h a t r e c o n n e c t t o a n o r a l u m b i l i ca l c h o r d s t r e t c h i n g f r o m 1 4 t h C G a m b i a n g r i o t s t o t h e La s t P o e t s t o n o w . B u t t h e s e good g r e e n r o o t s w h i c h nurture heal thy H i p Hop are strangl i n g i t . I t' s not the i n h u m a n you d r e a d i n music so much as the oppos i te, t h e ove r h u m a n , t h e a l l - to o h u m a n o f H i p H o p - i n s p i r e d p o e t i c s . T h e r e ' s s o m u c h i n te n t i o n i n t h e s e m u s i c s t h a t t h e m a c h i n e s c a n ' t h a r d l y b r e a t h e . T h e J B e e z a re n ' t t h e r e m e d y to G a n g s t a s o m u c h a s t h e a n t i b i o t i c to G a n g s t a ' s r e m e d i e s . N e i t h e r i l l n o r h e a l t h y , the J B e e z a r e t h e 3rd S t re a m : d y n a m i c a l , o n t h e e d g e o f order and c h a o s . Remedy d o es n ' t p r o p o s e a n e w c o n t e n t s o m u c h a s o b l i te r a t e t h e M C a l t o g e t h e r :

07 [ 0 9 1 ] o b s c u r e d b y s c r e e d s o f s t a t i c , t h e v o i c e d r o w n s i n a s t o r m o f d i s to r t i o n t h a t r i p s s y n t a x to s h r e d s _ T h e M C b e c o m e s a h o s t o f m i c r o p h o n e fi e n d s , s p e d u p a n d r e v e r s e d , s w a r m i n g from s p e a ke r to s p e a k e r . I r r a d i a ted i n t o a u d i o f l u x . t h e j Beez v o i c e i s a l l o s c i l l a t i o n a n d n o b a c k b o n e , p e r p e t u a l l y fl u c t u a t i n g b e tw e e n c a r t o o n , p l a s m a , g r e m l i n a n d g h o s t . Remedy t h e r e fo r e i s n ' t h e a d m u s i c s o m u c h a s h e a d l e s s m u s i c . I n d e c a p i ta t i n g t h e M C a n d o p t i n g f o r a n a c e p h a l i c o v e r l o a d , d e l i ve r y b e c o m e s m y s t i fy i n g , o c c l u d e d . I n Manmade Ma terial, v e r s e , c h o r u s , b r i d g e a re a c c i d e n t s , m o m e n t a r y c o i n c i d e n ce s g e n e r a t e d by s t a t i c . F r a g m e n ts o f w a r n i n g s s u r fa c e b r i e f l y f r o m t h e i n fo r m a t i o n o c e a n ; t h e l i s t e n e r c l i n g s l i ke d ro w n e r s . I m m e r s e Yo u r s e l f i n t h e D e s t r u c t i v E l e m e n t ' Yo u m u s t l e a r n y o u r p a t h , y o u r w a y t o s w i m t h r o u g h t h i s r e c o r d . T h a t i s t h e r e m e d y . ' i n s i s t t h e j u n g l e B r o t h e r s t o a ba ffl e d w o r l d . T h e H i p H o p h e a d i s r i g h t to be h o s t i l e . Remedy' s i n c o h e r e n c e a n n o u n c e s a p o s t ­ H i p H o p w o r l d . ' N o . . . W e m u s t . . . m a s t e r t h e m a ke r , ' a d a n g e ro u s l y u n s t a b l e v o i c e i n s i s t s i n Manmade Ma teria l. T h e j u n g l e B r o t h e r s ' l e a d i n s t r u m e n t s a r e fee d b a c k , f u z z a n d s t a t i c , p e r p e t u a l i n t e r fe r e n c e . Rem edy i s h e a vy, m e ga l i t h i c : i t s d e n s i ty c r u s h e s t h e g r a v i t y o f T h e S o n g . I n Spi ttin ' Wicked Randomn ess a n d t h e o v e r w h e l m i n g For th e Hea dz a t Company Z, w a h - w a h e ffe c t s y o w l i n t o a p e r p e t u a l w a l l o f f u z z . S u s t a i n ed c h o r d s o f g l a go l i t i c o r g a n c h a rge t h e t r a c k w i t h gra n d i o s i t y . Orga n d r o n e s a r e a m b u s h e d b y a p i l e u p o f a to n a l a r p eggi o s . B l oc s o f l o w ­ e n d s o l a r s o u n d h i t a s u s ta i n ed p i t c h , t r i g ge r i n g s e n s a t i o n s o f a s c e n s i o n . S a m p l a d e l i c c r o w d n o i s e m e l d s i n to s p u m e c l o u d s , s p i n d r i ft a s f u z z , cra c k l e a n d s t a t i c p e rs i s t w h i l e a p l a y e r p i a n o c y c l e s t h ro u g h i ts c a r d s . S a t i s fy i n g l y p o r t e n t o u s o r g a n c h o r d s b u i l d u p i m m i n e n t e x p e c t a t i o n o v e r groa n s p i t c h e d d o w n t i l l t h e y s o u n d l i ke j i m M o r r i s o n b e i n g s l o w l y d r o w n e d . D r u n ke n s o l d i e r s s a l u t e ' t h e h e a d z a t c o m p a n y Z ' . Remedy o s c i l l a tes between e x tremes o f troopers' e x h a u s t i o n a n d i n te n s e l y i n fa n t i l e g l e e a s H i p H o p fo rm b r e a k s d o w n over a n d over i n a d a z e o f c o n fu s i o n . Throughout, t h e r e ' s an overw h e l m i n g s e n s e of wreckage. H i p H o p h a s been b l a s ted to b i ts i n a n u n s p e c i fi e d d i s a s ter. From t h e r u i n s , d i s a s t rous e v e n t s a re tra n s m i t t i n g f r o m a d a m a ged receiver. D i s tressed p i l o ts h o l l e r t h ro u g h g a s m a sks i n to a pa tched - u p i n terco m . D e s t r u c t i o n b r i n gs j o y ; i n t h e s e r e p o r t s from H i p H o p ' s e n d , t h e b a b b l e a n d . fl u x fro l i c l i ke t e e n a gers d a n c i n g o n t h e r u b b l e o f t h e M i n i s t ry o f S o u n d . T h e j B s a r e j u i c e d by c a t a s t r o p h e . D i s t orted i n fo r m a t i o n e m erges

06[ 0 9 2 ] y a m m e r i n g from t h e s c ree a n d w h i n e o f Spi ttin ' Wicked Randomness, i m m e d i a te l y i n t e r r u p ted by s q u a l l s of s t a t i c a n d m a y d a y s i g n a l s y n t h s . ' Br a i n s t o r m s ! Bra i n s t o rm s ! M a s s e x p l o s i o n i n t h e b ra i n n n . ' Th e p a radox I a m , Ex t e n di n g my h a n d i n t o t h e m e n t a l t o u n lo ck d o o rways Organized Konfusion C o m p u t e r M u s i c i n t h e Ye a r Z e ro Trad H i p H o p i s a b e l i e f s y s t e m s u re o f i t s p a s t , certa i n of i t s p r e s e n t , c o n f i d e n t i n i ts fu t u r e . Load t h e Remedy cd i n t o t h e tray a n d t h i s con v i c t i o n c o l l a p s e s a n d c o n v o l u t e s , bea c h i n g you o n the reefs o f the p r e s e n t. Afri ka Baby B a m c o n fo u n d s c o n fu s i o n by m u l t i p l y i n g h i m s e l f i n t o n e w h e t e r o n y m s A f N e x t M a n F l i p a n d L o r d Para d o x : ' I ' m g o n e . . . I ' m rea l l y g o n e , I ' ve rea l l y l e t m y se l f g o . I e v e n c h a n ged m y n a m e t o A f N e x t M a n F l i p , m e a n i n g t h a t I w a s o n e o f t h e n e x t m e n to fl i p o u t i n t o t h e u n i vers e . ' Remedy t a kes H i p H o p fo r w a r d t o i t s e l ec t ro n i c r o u t e s , i t s r o c k r o u t e s , i t s m a c h i n e r o u t e s . I t i s C o m p u t e r M u s i c i n t h e Yea r Z e r o . The a n t i d o te for p e rva s i v e d e p r es s i o n , fo r a H i p H o p g o n e i l l m a t i c , a s r a p p e r N a s t e r m s i t , i s a n i m m e r s i o n i n U n i ve r s a l S o u n d a n d M y t h S c i e n c e . A f N e x t M a n F l i p i d e n t i fi e s w i t h ' s c i e n t i fi c p eo p l e . I l i ke rea d i n g books about john C o l t r a n e , w h e n he's s i t t i n g t h e r e s t u d y i n g m u s i c t h eo r y a n d h e ' s l i s t e n i n g to m u s i c from a l l o v e r t h e w o r l d a n d t r y i n g t o r e a c h t h i s h i gh e r o r d e r . I l i ke t h e u n i ve rs e . ' H i p H o p ' s d i k t a t s - to c o m e c o r r e c t , t o k e e p i t r e a l a n d n o t g e t i t t w i s te d - a l l h a e m o r r h a g e i n t h e U n r ea l i ty P r i n c i p l e o f j Beez Wi t the Remedy, i t s p r e m o n i t i o n s , i t s c l a i ra u d i e n c e .

07[093] SY NT H ET I C F I CT I O N/ELE CT R O N I C T H OU G H T Abduction by Acid [Curfew]: Phuture , B a m Ba m , Sleezy D Th e wo rld o f t h e twe n tie t h - ce n t u ry d a n c e flo o r is a dis c o n tin u u m - a D i s c o t h e q u e a G o - G o , in which a d a n c e r m a k e s h i s o r h e r own s p a c e wh ich d o e s n o t fit in to a n yb o dy e ls e ' s s p a c e . I t ' s like a p h ysicis t tryin g to e n c o u n t e r e l e c t ro n i c p a rticle s wi t h N e w t o n i a n c o n c e p t s "'arshall "'cluhan T h e To x i c D r i v e s of t h e D r u g < > T e c h I n t e r f a c e A t t h e h e i g h t o f A c i d ' s i n n e r f l i g h t c o m e s S l eezy D ' s ' 8 6 I 've L os t Con trol, P h u t u r e ' s ' 8 7 Yo ur Only Friend, B a m B a m ' s ' 8 8 Where 's Yo ur Child, s c a ry t r a c k s t h a t o p t i m i z e y o u r fe a r · · f l i g h t t h r e s h o l d . A t t h e p e a k o f t h e R a v e D r e a m , 4 H e r o ' s ' 9 1 M r Kirk 's Nigh tmare fe e d s p a r e n ta l d ru g p a n i c b a c k o n t h e d a n ce f l o o r . Y o u r d r u g e x p e r i e n c e i s i n t e n s i fi e d by a m i x o f a n t i ­ d r u g tracks . Y o u c o m e u p on tracks which bring y o u down . S o n i ca l l y s p e a k i n g t h e d r u g • • te c h i n t e r f a c e i s t o x i c s t r a i g h t a w a y , n o t l a t e r \'\' h e n t h e b a d m e n m o v e i n . E v e r y t h i n g g o e s w r o n g r i g h t a w a y a n d t h i s o n l y a m p l i fi e s t h e r u s h . Ta ke t h e E a n d Ta ke t h e R i s k . Ta k i n g d r u g s i s

07[0 9 4 ] a r i te o f p o s s i b l e d e a t h , a r i t u a l t h a t a ff i r m s l i fe . F a c i n g t h i s p os s i b l e d e a t h m a ke s l i fe r u s h e v e n fa s t e r . Every E t a k e r i s a l r e a d y d e a d , h a s c r o s s e d t o t h e o t h e r s i d e o f t h e p o i s o n i n w h i c h t o x i c i ty i n t e n s i fi e s l i fe . P h I s t h e S i l v e r o f Sy n t a x D j P i e r r e ' s h e t e r o n y m P h u t u r e s u b s t i t u t es t h e ' f' i n fu t u r e for t h e ' p H ' o f t h e c h e m i c a l fo r m u l a a n d t h e p h o f p h o n o . P h m a ke s t h e p h u t u r e s o u n d s y n t h e t i c a n d p h o n o - c h e m i c a l . P h i s to s o u n d a s s i l v e r i s to v i s i o n . P h i s the s i lver prefix, the word concentrate. The future becomes a phuturistic Pharmatop i a . W i t h P h u t u r e , the s o u n d of the f u t u r e separates f r o m t h e look o f the p h u ture. V i s i on and sound, heteronym a n d homonym, s p l i t off, r u n a w a y from e a c h o t h e r . F o r t h e Wh ite H o r s e o f H e r o i n will r i d e y o u t o H e l l James Brown I n T h ra l l P h u t u r e ' s e n t h ra l l i n g Yo ur Only Friend i s A c i d ' s s e q u e l t o j a m e s B r ow n ' s ' 7 2 King Heroin, t h e e l e c t r o n i c u p d a t e o f R o l a n d K i r k ' s ' 6 9 Volun teer Sla very. A ft e r t h e p u s h e r s e l l s you to the D r u g , the D r u g s e t s you to work a s a m u l e , s e n d s y o u out i n to t h e w o r l d p r o g r a m m e d l i ke a m e d i u m a t a s e a n c e . T h e d r u g b e c o m e s t h e c l o c k w h i c h k e e p s t i m e i n i t s u n i ve r s e o f u n e n d i n g s e rv i t u d e . I n a V o i c e p i tc h e d d o w n i n to t h e V a d e r i z e d g r o a n o f a D e s i g n a t e d D e s p o t : ' Th i s i s C o c a i n e s p e a k i n g , I c a n m a k e y o u d o a n y t h i n g fo r m e . ' A c i d ' s 3 0 3 d e l i ve r s y o u u p to t h e K i n g d o m o f C o c k a y n e , a c ce l e ra ted i n t o a powder p a r a d i s e o f e n d l e s s c o c a i n e . To dance i s to be d r a w n h e l p l e s s l y i n t o w h a t t h e t r a c k w a r n s a ga i n s t . A c i d ' s s t e r n e s t i nj u n c t i o n s - ' Y o u h a v e b e e n w a r n e d , I ' l l t a k e y o u r l i fe ' - i n c i t e s m o r e d a n c i n g , n o t a s r e l e a s e b u t a s vo l u n ta r y s l a v e ry, d a n c i n g y o u r w a y i n t o a n e w c o n s tr i c t i o n . Y o u ' r e w i l l i n g l y a b d u c t e d by A c i d i n to t h e D e s p o t i c r e g i m e t h a t n e v e r s o u n d e d s o g o o d b e fo r e . E n t h ra l l e d by fre q u e n c i e s , y o u ' re mo d u l a t ed by s e n s a t i o n s o f a ggre s s i v e eva s i v e n e s s a n d a t t a c k i n g e l u s i v e n e s s . Y o u s h e d y o u r l i fe a s e a s i l y a s a s n a k e s h u c ks i t s s k i n . S l i p f r o m t h e m o ra l s i nc u l ca t e d i n to y o u r m u s c l e s . The Vo i c e of D o o m d e c r e e s i t s d e a t h c o m m a n d : ' Ta ke a s h o t f r o m m e / l ' l l m a k e y o u fl y/Ta ke t o o m u c h f r o m m e / l ' l l m a k e you d i e . ' I n s te a d o f e m u l a t i n g roc k ' s b a s s , fo r e v e r s t r a t i fi e d a t t h e l o w e n d ,

07 [ 0 9 5 ) A c i d e x a g g e r a t e s t h e R o l a n d T 3 0 3 ' s dry s l i p p e r i n e s s , i ts g/issemen ts, by t ra n s fo r m i n g the s o u n d of the n o t e , the c o l o u r of its t o n e a s it p l a y s . F i l tering bend s · • se l ects • • s u ppresses t i m bres, prod u c i n g the a u r a l e q u i v a l e n t o f a t r a c e r e ffe c t , a w a v e r i n g s e n s e o f p a n i c a s t h e e a r fa i l s t o r e s o l ve t h i s s l i p p a ge o f o v e r to n e s . Acid i s an accident i n which the TB303 bass synthesizer uses Phuture t o r e p r o d u c e i ts e l f, t o m u l t i p l y t h e d i m e n s i o n s o f e l e c t ro n i c s o u n d , t o o p e n u p a n o m a d o l ogy o f t e x t u rh y t h m s , r h y t h m e l o d i e s . P h u t u r e , B a m B a m e t a/ l ov e t h i s s y n t h e t i c , u n n a t u r a l n o i s e . A c i d t r a x a m p l i fi e s t h i s s e n s e o f t e r r i fy i n g n e w n e s s . N o t h i n g y o u k n o w a b o u t t h e h i s to r y o f m u s i c i s a n y h e l p w h a t s o e v e r . W h a t i s t h i s n o i s e a n d w h e r e ' s i t c o m i n g fr o m ? W h o a r e t h e s e p e o p l e a n d w h y · a r e t h e y s m i l i n g a t m e ? B r u ta l l y i n e x p r e s s i v e w o o d b l o c k s h a m m e r o u t a n i n h u m a n i rr e g u l a r i ty , re l i e v e d by t h e s t a b s o f b a s s i c s y n t h . T h e h e a r t ' s b e a t i s c a p t u red a n d c l o n e d by t h e t i m e s y n t h e s i z e d i n t o i m p a c t s . You b e c o m e a n e x t e n s i o n o f t h e m a c h i n e w h i c h g e n e r a t e s t i m e . S l i p t h r o u g h t h e s p a ces b e t w e e n t h e s e q u e n c e s . S i l i c o n - b a s e d P sych o s i s P h a s e I : H a l 9 0 o o ' s red l i g h t p s y c h o s i s i n 2 0 0 1 : A Space Odyssey. W h e n H a l s t a r t s p l a y i n g b a c k Daisy, Daisy, c o m p u te r- m a l fu n c t i o n t u r n s i n to m a c h i n i c b r e a kd o w n . Daisy, Daisy - v o x c o n g e a l i n g as i t r u n s d o w n ­ i ntroduces the new sound o f analog psychopathology. T h e Wo m a n d r o i d f r o m t h e A m a z o n e P h a s e 2 : T h e wo m a n m a c h i n e G ra c e j o n e s ' ' 8 2 r e m o d e l o f j o y D i v i s i o n ' s ' 7 9 Sh e 's Lost Con trol u p d a t e s t h e s o s m e c h a n i c a l b r i d e . F o r t h e l a t t e r l o s i n g c o n t r o l m e a n t e l e c t r i c e p i l e p s y, v o i c e d r a i n e d d r y b y fee d b a c k . F o r j o n e s , t h e fem a l e m o d e l t h a t ' s l o s i n g c o n t r o l i n d u c e s t h e s e n s e o f a u to m a t i o n r u n n i n g d o w n , t h e h u m a n s e i z i n g u p i n t o a m a c h i n e r i c t u s . The model - a s g i r l , as car, as synthesizer - incarna tes the a s s e m b l y l i ne t i m e of g e n e r a t i o n s , o b s o l e s c e n c e , 3 - y e a r l i fe s p a n s . T h e m o d e l i s t h e b l u e p r i n t for t h e p o s t - C o l d W a r c y b o r g , t h e wo m a n m a c h i n e m o d i fi e d a n d m u t a te d b y t h e m i l i t a ry • m e d i c a l • • · e n te r ta i n m e n t c o m p l e x . H e n c e K r a ft w e rk ' s The Model, w h e re t h e b a c h e l o r m a c h i n e s a re t h r e a t e n e d by t h e w o m a n m a c h i n e ' s s u p e r i o r r e p r o d u c t i o n c a p a b i l i ty . The Model i s a n e x c e r p t from t h e p o s t - w a r m a c h i n e - r e p ro d u c t i o n w a r s . P h a s e J : S l eezy D ' s I 've L o s t Con trol i s t h e fl i p s i d e o f Can Yo u Feel

07[0 9 6 ] I t ?, r e s co r i n g J o y D i v i s i o n ' s She 's Lost Con trol fo r t h e R o l a n d 3 0 3 . E a c h s e n s a t i o n o s c i l l a t es i n to t h e o t h e r i n a n a u d i o - c h e m i c a l fee d b a c k l o o p . P i t c h s h i ft i n g d ra w s y o u d o w n i n to m i n d s l u r r i n g, s l ow - m o t i o n c o m p u t e r p s y c h o s i s . 3 0 3 ' s fi l t e r s s m e a r t o n e s i n t o a t i m b r a l s p e c t r u m o f d e c a y . A c i d . ca rve s n e w s e n s o r y c h a n n e l s a n d m u t a t e s t h e o n e s a l re a d y b e i n g u s e d . I t d e m a n d s a n d b u i l d s a s y n t h e t i c e a r fo r i t s e l f f r o m t h e o l d o n e . Fe a r fe e d s fo r w a r d i n to t h e d a n c e , f l o o d s y o u i n w a v e s o f re a s s u r i n g p a n i c u n t i l y o u fee l s a fe a n d d a n g e ro u s . P h a s e 4 : I t ' s t o o l a t e . T h e d r u g • • t e c h i n t e r f a c e s y n t h e s i ze d y o u l o n g a g o . Y o u ' r e s y n t h e t i c n o w . Aga i n s t t h i s , a l l tra d i t i o n a l a u t h o r i ty condemns itsel f. The O l d World loses a l l seriousness when i t i n s ists that y o u d o n ' t h a v e to ta ke E to k n o w i t ' s b a d for y o u . T h i s s e n s i b l e i g n o r a n c e i s p r e c i s e l y w h a t i n v a l i d a t es i t . E v e r y w o r d t h e g o v e r n m e n t s p e a k s d e l e t e s i t s e l f . A l l i ts e x p e r t i s e d i s q u a l i fi e s i t . So m e G o d s will m o u n t a n y h o r s e Ishmael Reed P a n i c F e e d s f o rw a r d N o gove r n m e n t c a n s c a r e y o u i n t o s t o p p i n g b e c a u s e E , t r i p s , h yd ro p o n i c a l l y g r o w n s k u n k , a l l t h e s e h a v e a l re a d y s c a re d y o u m o r e than they e v e r cou l d . This sense o f being s n a tched by d rugs, o f b e i n g k i d n a p p ed i n t o y o u r h e a d , o f d r a w i n g o u t t h e m a d n e s s a l re a d y i n y o u : t h i s i s w h a t t h e D a r k s i d e i s . E v e r y t h i n g t h e m e d i a w a r n s y o u a ga i n s t h a s a l ready been made into tracks that drive the da ncefloor. A l l b l a c k e l e c t ro n i c m u s i c s h a v e t h e i r D a r k s i d e , a n d A c i d ' s b e g i n s w i t h B a m B a m ' s ' 8 8 Wh ere 's Yo ur Child, t h e A c i d t r a c k a s a u d i o a b d u c t i o n , the s o u n d t h a t s n a tches you from schoo l , s e l f a n d society, t h a t k i d n a p s y o u r m i n d a n d n e v e r g i v e s i t b a c k . L i ke 4 H e r o ' s M r Kirk 's Nigh tmare, i t a m p l i fi e s p a r e n t ' s d r u g - p a n i c i n t o a h i l a r i o u s l y h o r r i fy i n g fee d fo r w a r d l o o p : ' Pa r e n t s , D o n ' t l e t y o u r k i d s o u t a t n i gh t / D o n ' t y o u know they don't know wrong from right?' Acid here i s a psychotic sampladel i a of w h i n i n g motorcars, of vicious g l a s s s m a s h p l a y e d a s a 3 - n o t e r e fra i n , o f c a rs s l ow e d d o w n i n t o d e c a y i n g g o n g a n d i n t e r m i t t e n t b a b y s c r e a m s . B a m B a m p i tc h s h i ft s h i s v o i c e u n t i l i t s l u r s d o w n i n t o a s i n i s t e r g l o a t p u n c t u a ted b y v a m p i r i c l a u g h s . I t ' s t h e s o u n d o f s e d u c t i o n every p a r e n t d r e a d s : ' W h e r e ' s y o u r

07 [ 0 9 7 ] c h i l d ? / D o y o u k n o w ? / L o o k a r o u n d / N ow h e r e t o b e fo u n d . ' Acid i s repetitive a ttack p a tterns that perpetu a l l y c l i m b , bu i ld a n d fa l l , res t l e s s l y l u r c h i n g from p a n i c i n d u c i n g t r e b l e s t o q u e a s y l o w s . A n d e v e n w o r s e - e v e n m o r e s a t i s fy i n g - a re t h e v o l u p t u o u s g r o a n s a n d s a ted s i g h s e m i t t e d by t h e v o i c e a s i f i t ' s s t r o k i n g i t s e l f w h i l e r e c a l l i n g i n te n s e g ra t i fi c a t i o n : ' N o b o d y l i ke s to be l e ft a l o n e / e s p e c i a l l y w h e n t h e y d o n ' t k n o w r i g h t fro m w r o n g . ' Where 's Yo ur Ch ild h i t s a p e a k o f s w e e t u n e a s e w h e n B a m B a m m u r m u r s ' C u r few C u r fe w ' l i ke a n i n c i t e m e n t t o unnamed pervers i o n s , the e n t i c i n g threshold i n to its a h u m a n wor l d : ' Y o u ' r e a l l m y c h i l d re n n o w . ' R C rowd o f I m p o r t A l i e n s A c i d i s t h e i m p o r t a l i e n . I t a r r i v e s i n c r o w d s o f m y s t i fy i n g n a m e s , t e r r i fy i n g l y b l a n k 1 2s , l a b e l s a p p ro a c h i n g y o u w i t h i n t h e R h y t h m a c h i n e s w a r m that i s the com p i l a t i o n . N o more than the rem i x , the com p i l a ti o n n e v e r w i n s a w a r d s , n e v e r m a ke s i t i n to E n d - o f- D e c a d e L i s t s . L i k e t h e r e m i x , t h e c o m p i l a t i o n i s a n a r t fo r m f o r t h e S a m p l a d e l i c E r a . T h e h i s to r y o f t h e E l e c t ro n i c R h y t h m a c h i n e i s m e a s u re d a s m u c h i n t h e crowd o f t h e c o m p i l a t i o n a s by t h e 1 2 . F r o m t h e Stre e tsounds Elec tro Volume 1 - 1 2 t o 1 0 R e c o r d s ' Techno: The N e w Dance Sound of D e troit to N e t w o r k ' s Re tro Techno to S u b u r b a n B a s e / M o v i n g S h a d o w ' s The join t to R e i n fo r c e d ' s The Deepest Shade of Techno to V i rg i n ' s Macro Dub Infection to Om R e c o rd s ' Deep Concen tra tion - t h e c o m p i l a t i o n i s t h e m o v a b l e s h o p wa l l t h a t d i s s o l ves t h e 1 2 ' s a u r a , r e l e a s i n g i t from i ts dj - o n l y l td - e d n p r o fe s s i o n a l i z e d s t a t u s . A s a U S o r E u r o i m p o r t , a t e s t p r es s i n g , a w h i te l a b e l d j p r o m o , a d o u b l e p a c k , a t r i p l e p a c k or a 1 0 , t h e s i n g l e i s t h e r a r e o bj e c t t h a t e v e r y o n e w a n t s , t h a t m o s t p e o p l e n e v e r g e t to s e e . T h e 1 2 i s t h e h a r d b a c k o f m u s i c , t h e l td - e d n r u n o f 2 0 0 0 c o p i e s t h a t s e l l s o u t i n 3 d a y s , n e v e r to be s e e n a ga i n . T h e 1 2 i s a n e l i te p r o d u c t , frozen i n a r i g i d l y p r o t e c t e d h i e r a r c h y o f dj , j o u r n a l i s t a n d e v e r y o n e e l s e . L i ke p a p e r b a c k s , co m p i l a t i o n s r e v e r s e t h i s p r o c e s s , r e l e a s i n g t r a c k s from t h e i r r e v e re n t i a l a n d r a r e f i e d a u r a . d i s s o l v i n g j o u r n a l i s t i c r e v e re n c e , b y p a s s i n g h a r d - w o n c o n n o i s s e u r s h i p b y f l o o d i n g t h e H i g h S t r e e t s w i t h a n t h o l og i e s a n y o n e c a n b u y .

07 [ 0 9 8 ] I n t h e b e g i n n in g t h ere wa s J a c k a n d Jack h a d a G ro o ve . J a ck b a wle d a n d de clare d ' L e t t h e re b e H o u s e . ' A n d H o u s e M u s i c was b o rn . I a m , yo u s e e , I a m t h e Cre a t o r a n d t h i s i s my H o u s e Fingers Inc:. Featuring Chuck Roberts Rematerialize VR demateri a l izes y o u b u t M a c h i n e M u s i c remateria l izes y o u . I n Neuroman cer, C a s e j a c ks from h i s b o d y i n t o c y b e r s p a c e . T h e h o u s e a c o l y t e j a c k s i n t o t h e H o u s e t h a t i s h i s / h e r b o d y . I n ' 8 8 ' s Can Yo u Fe e/ I t t h e k i n a es t h e t i c o f j a c k i n g i s i n c a r n a t e d a s j a c k . T h e s e n s a t i o n o f d a n c i n g c o m e s a l i v e . S e n s a t i o n i s p e r s o n i fi e d b y C h i c a g o P r e a c h e r C h u c k Roberts. jack AutoCatalyses House through screa m i ng, then explains the n e u r oc i rc u i t o f H o u s e i n w h i c h e m o t i o n b e c o m e s e n v i r o n m e n t : ' O n c e you enter m y House i t then becomes our House a n d our House M u s i c ' . Lo c k i n g i n t i g h t t o t h e b e a t b u i l d s t h e H o u s e from t h e r e f l e x e s u p . To j a c k i s to j o i n w h a t Wa l te r H u g h e s ca l l s t h e ' a u t o m a t i c com m u n i t y o f tec h n o l ogfc a l co m m u n i c a t i o n ' , where W h i t m a n ' s ' a d h e s i v e b o d y e l ec t r i c ' i s s e q u e nced a t t h e p u s h o f a b u t t o n i n to ' th e g a y b o d y e l ectron i c ' . A c i d t w e a k s w h i l e LA b u r n s . H o u s e a m p l i fi e s a l l t h o s e fee l i n g s H i p H o p m a n fu l l y d e n i es i t se l f, i n te n s i fy i n g t h e p r e s e n t b y b u r n i n g u p t h e f u t u r e . T h e T r a d H i p H o p fa n a t i c r e g a r d s e v e ry t h i n g p o s t - H o u s e w i t h a n u n s h a k a b l e s u s p i c i o n : H o u s e i n l e a gu e w i t h t h e s y n t h e t i c , a c o l l a b o r a t o r with the frivo lous, that which consorts with the m a c h i n e . I n H i p H o p t h e b e a t i s h e a v y , c a r ry i n g a m o r a l w e i g h t t h a t s i n ks t h e n e c k u n t i l i t n o d s i n o b e i s a n ce to t h e bea t . T r a d H i p H o p e n forces a n e t h i cs o f s o u n d t h a t w e l d s t h e fa n t i g h t to t h e m u s i c . T h e 2 0 t h C e n t u ry D i s c o n t i n u u m I f R o c k ' s a r c h e t y p a l d e m a n d i s for s a t i s fa c t i o n , t h e n t h e R h y t h m a c h i n e ' s i s f o r fee l i n g . F i n g e r s I n c - s y n t h e s i s t - p ro d u c e r L a r r y H e a rd a n d voca l i s t R o b e r t O w e n s - a s k t h e q u e s t i o n for t h e z o t h C d a n c e f l o o r : Can Yo u Feel ft. ' I t ' here is e m o t i o n w i t h o u t a n o bj e c t , p o i n t l e s s , c a r e l e s s , d i re c t i o n l e ss fee l i n g for i ts o w n sake. f i n g e r s Inc d e m a n d that you fe e l fe e l i n g . Can Yo u Feel It is a s y n t h e t i c s a n c t u a r y w h o s e e d g e l e s s t o n e s i n s u l a t e a n d e n w o m b . I ts s y n t h a r m o n i c h o r i z o n r e a c h e s i n s i d e y o u , w ra p p i n g i ts e l f a r o u n d y o u r s k i n , c o n fu s i n g t h e b o r d e r s b e t w e e n t i s s u e a n d t o u c h , i g n i t i n g s e n s a t i o n s o f u n s p ec i fi e d e x p e c ta t i o n , i m m i n e n t i m m a n e n c e . H e a rd i n d u c e s a s e n s e o f s a n c t u a ry, ra p t t o n e s cra d l i n g y o u i n w a r m

07[09 9 ] b a s s , h o v e r i n g a t t h e e d g e o f t h e h o r i z o n . Can Yo u Feel I t i s t h e e m p a t h o g e n i n a s t a t e o f u n c o n d i t i o n a l e l a t i o n , l i p s p u r s e d , eyes fl i c k e r i n g a t t h e speed o f t h e s u n . T h e P h y s i c a l I n t e rf a ce o f P e r c e p t i o n W h e n y o u ' r e e n t a c t o ge n i c , t h e s k i n g e t s t a c t i l e h a l l u c i n a t i o n s , h e a r s t h i n g s , tra n s m i t t i n g a n d r e c e i v i n g s e n s a t i o n - c o n c e p t s . E a l l ows y o u t o a n t i c i p a te t h e b e a t , to s l i p i n s i d e t h e m a c h i n e m n e m o n i c . T h e s k i n i s t h e b o r d e rg u a rd o f y o u r s e l f. A s a n e m p a t h o g e n , E a ffects t h e p h y s i c a l i n t e r f a c e o f p e r ce p t i o n . Pa t C a d i ga n c l i c k s t h e cursor on zoo m : ' T h e w a y to change p e o p l e ' s i d e a s about rea l i ty i s t o c h a n g e the w a y t h ey fe e l re a l i t y - l i te ra l l y . ' T h e s k i n s e i z e s c o n t r o l o f a l l t h e s e n s o ry c h a n n e l s , t r i gge r i n g m e m o r y s k i n , s k i n t e l e p a t h y , fi n g e r - re c o g n i t i o n , s h i ve r s i g h s , r a p t g a s p s . T h e s k i n b e c o m e s a n a e r i a l r e ce i v i n g a n d t ra n s m i t t i n g e v e r y t h i n g . Fe e l i n g i t i s t h e s e n s a t i o n o f a m p l i fi c a t i o n , o f a l l c h a n n e l s o p e n , s u p e r c h a r g e d . Y o u r b o d y s e e t h e s ; a p l a n e t o f w e t w a r e a s y o u d i v e , d i ve i n to t h e s e a d e p t h s o f your b l o o d . Fee l i n g i s t h e r es u l t o f a l l t h e s e n s e s c o n v e rg i n g a t o n c e . T h e R h y t h m a c h i n e v a l u e s t h e s e p e a ks a b o v e a l l e l s e . T h e s e n o n v e r b a l N i rv a n a s o f t o t a l t a c t i l e t e l e p a t h y a r e w h a t A G u y C a l l e d G e ra l d t e r m s ' e m o t i o n s e l ec t r i c ' , t h e m o m e n t s w h e n e a c h d a n c e r i n t h e crowd becomes a m e d i u m t ra n s m i t t i n g s e n s o ry c u r r e n t . The D a n c e f l o o r a t t h e C e n t u r y ' s Start B u t N i rv a n a ' s n e v e r e n o u g h . T h e E n d o f C e n t u r y d a n c e f l o o r i s a s e r i e s o f p a r a d o x i c a l p s y c h e d e l i a s t h a t i n d u c e i m m er s i v e i n v e r s i o n s a n d fl e e t i n g r e v e r s i o n s . T h e p h u t u r e i s a s e r i es o f s y n t h e t i c s e n s a t i o n s , a r t i f i c i a l emotions. tense presents. L o s i n g i t i s w h e n y o u g i v e i n to t o x i c d r i v e s , w h e n t h e t h i rs t for m u t a t i o n is s t r o n g e s t , w h e n y o u ' r e d r ow n i n g in p e r i s t a l t i c waves o f t o x i c sensation, when the head ' s n o more than a s t u p i d pi ece o f g r i s t l e . When e ffect b r e a k s free fro m c a u s e a n d r u n s o ff, w h e n s o u n d d e t a c h e s i ts e l f from s o u rc e a n d s e n s e , w h e n n a rr a t i v e d i s s o l v e s i n to s e n s a t i o n . T h e a u d i o - t o x i c e n e r g y c o u r s i n g t h r o u g h t h e b o d y a m p l i fi e s i t s e l f i n a c u r r e n t t h a t s n a k e s t h r o u g h r a v e r s i n a b i o - c i rc u i t . F u e l f o r t h e I carus trajectory.

07[ 1 00 ) . . . A n d came Down i n Tec h n o City : Cybotro n , Model 5 0 0 , E l ectrify i n g M oj o I n Trad t e r m s , i t ' s w i d e l y a s s u m e d t h a t Tec h n o i s n ' t a ' b l a c k A m e r i ca n m u s i c ' b e c a u s e i t rea l l y s t a rted w i t h Kra ftw e r k . T h o s e o f Te c h n o ' s s u p p o rters w h o s t i l l i n s i s t t h a t D e t ro i t b r o u g h t the fu n k t o M a c h i ne M u s i c w i l l a l w a y s l o o k for Te c h n o ' s A f , • A m o r i g i n to a n sw e r t h e s e c r i t s : S u n R a ? H e r b i e H a ncock? K r a ft w e r k ' s l o v e o f j a m e s B r o w n ? A l l o f t h e s e a r e r o u t e s t h ro u g h Tec h n o - y e t n o n e w o r k , b e c a u s e D e t r o i t Te c h n o i s a l w a y s m o r e t h a n h a p p y to g i v e d u e cred i t to Kra ftwerk a s the p i o n e e r s o f Tec h n o . Dusseldorf Is the Mississippi Delta Kra ftwerk a r e t o Tec h n o w h a t M u d d y W a t e r s i s t o t h e R o l l i n g S t o n e s : t h e a u t h e n t i c , t h e o r i g i n , t h e rea l . Te c h n o t h e re fo r e r e v e r s e s t h e tra d i t i o n a l 6 o s n a rra t i v e i n w h i c h t h e R o l l i n g S t o n e s s t o l e t h e s o u l a n d v u l ga r i ze d t h e b l u e s o f W a t e r s e t a/. K r a ftwerk e p i to m i ze the w h i te s o u l o f the s y n t h e s i z e r , die Seele der Syn thesi zer, t h e u l tra w h i te n e s s of an a u t o m a t i c , s e q u e n c e d fu t u r e . To M o d e l s o o , ' [ K r a ftwerkl s o u n d e d s t r a i g h t up l i k e t h e y w e r e l i v i n g i n a c o m p u t e r . I e v e n h a d d o u b t s to w h e t h e r t h e y w e r e a c t u a l l y h u m a n . ' H a p p y t o b e t h e i n t e r l o p e r , t h e l a te c o m e r , B a m b a a t a a s t e a l s t h e s y n t h e t i c s o u l fro m D u s s e l d o r f, b a s t a r d i ze s i t i n t o Planet Rock. Kra ftw e r k h a p p i l y c a l l ed t h e i r s o u n d /ndus trie/1 Volk Musik, F o l k M u s i c for t h e I n d u s t r i a l A g e . F o r Te c h n o , D u s s e l d o r f i s t h e M i s s i s s i p p i D e l t a . The I m port Ear D e p e c h e M o d e , G a ry N u m a n , A l ex a n d e r R o b o t n i k , M a n u e l G o t t s c h i n g , L i a i s o n s D a n ge r e u s e s : a l l o f t h e s e a r e i m p o r t i n p u t s c h a r g i n g t h e C y b o t r o n f u t u r o p o l i s , t h e Te c h n o C i ty . W h a t ' s s t r i k i n g a b o u t C y b o t ro n ' s Techno Ci ty i s i t s c h o r u s : 'Tec h - n o h C i t e h h ' s u n g b y 3 0 7 0 a k a R i c k D a v i e s i n t h e m a n n e red a c c e n t o f n e u ro m a n t i c s y n t h p o p . T h e 3 0 7 0 v o i c e i s r e m o t e , h o l l owed o u t , a b o v e a l l f e y - a n d a · d r a m a t i c s e c e s s i o n from b l a c k m a c h o . T h e i m po r t a c c e n t m e a n s s i n g i n g l i ke a n a l i e n i n A m e r i c a n , b e c o m i n g a n a l i e n i n B r i t E n g l i s h , fe e l i n g a t home i n estrangement, out o f s t e p , bored w i t h home l i ness.

07 [ 1 0 1 ] , R e v e r s e t h e C u r r e n t o f H i s t o ry b y I n v e r t i n g t h e H i s t o r y o f A t t r a c t i o n Tra d i t i o n a l l y, B r i t i s h p o p b a s t a rd i zes a n d m i s t ra n s l a te s U S m u s i c . D e t ro i t Te c h n o i nverts t h e s e h i s t o r i c a l U S · U K c u r r e n t s o f a t t ra c t i o n , b y • a b d u c t i n g w h i te n a s a l w h i te n e s s a n d s y n t h e s i z i n g a n e u ro m a n t i c t i m b r e , g e n e r a t i n g t h e c o m p e l l i n g s e n s e t h a t ' t h e m u s i c i s j u s t l i ke D e t ro i t , a c o m p l e t e m i s t a k e . · As a n a e r i a l m u s i c t h a t a s s e m b l e s i t s e l f t h ro u gh t h e D e t ro i t a i rw a v e s , Tec h n o h e a rs w i t h a n i m po r t E a r, a s y n t h e t i c E a r . I t s i ngs i n a v i n y l a c c e n t d e c a p i t a t e d f r o m E n g l i s h bod i e s to m i gr a t e a c r o s s t h e A t l a n t i c . T o l i s t e n to C y b o t r o n i s to h e a r t h e B r i t v o i c e m a k i n g Te c h n o ' s a l i e n a t i o n f r o m A m e r i c a a u d i b l e . I n t h e C y b o t r o n a n d M 50 0 v o i c e , y o u h e a r w h a t t h e tro p i c a l s u r r e a l i s t R e n e M e n i l t e r m s a ' c o n t i n u a l t e l e s co p i n g o f 2 c u l t u r a l l a n g u a ges s e p a ra te d w i t h i n t h e s a m e t o n g u e . ' The E l e c t r o n i c C y b o r g C y bo[rg] • [Eiecltron[ l c l • C y b o t ro n . T h e C y b o t r o n i s t h e e l e c t ro n i c c y b o r g , t h e a l i e n a t h o m e i n d i s l o c a t i o n , e x c e n t re d by t ra d i t i o n , h a p p i l y e s t r a n ged i n t h e g a p s a c r o s s w h i c h e l ec t r i c c u r r e n t j u m p s . T h e s u ff i x o f ' t r o n ' i n C y b o t r o n a n d M a n t r o n i x , l i ke t h e p r e f i x ' p h ' i n P h u t u r e , i s n o t a w o r d , b u t word -co n c e n t r a t e : i t ' s a p a r t i a l a c c e l e r a t o r , a n e n g i n e y o u a t t a c h to m a k e c o n c e p t s go fa s t e r . W e are m is l e d by co n s idering a n y c o m p lica t e d m a c h i n e a s a s in g l e t h i n g : in tru t h i t is a c i t y o r s o cie ty Samuel Butler B u i l d t h e C h ro n o t o p i a D e t ro i t Te c h n o i s a e r i a l . I t tra n s m i t s a l o n g r o u t e s t h ro u g h s p a c e , i s n o t g r o u n d e d b y t h e r o o t s o f a n y t r e e . D i s p e rs e d i n s p a c e . D e t ro i t c o n n e c t s t h ro u g h t h e 2 - H o u r C i t y o f r a d i o , t h e c o n c e n t ra t i o n i n t i m e o f t h e Te c h n o p o l i s . Tec h n o a n n o u n c e s t o d a y ' s e r a i n w h i c h ' G e o g r a p h y i s r e p l a c e d b y c h ro n o g ra p h y , ' t h e a g e w h e n , a s V i r i l i o a rg u e s , ' w e h a v e b e g u n to i n h a b i t t i m e . ' Te c h n o a s s e m b l e s i t s e l f a c r o s s t h e s t u d i o s o f D e t r o i t f r o m i n p u t s s u p p l i e d by t h e dj E l e c t r i fy i n g M oj o , w h o o p e n s h i s M i d n i g h t F u n k A s s oc i a t i o n s h o w w i t h C y b o t ro n ' s Me thane Sea a n d J o h n W i l l i a m s ' O S T Ti tle Th eme from Star Wars. T h e t r a c k s M oj o p l a y s s w i t c h o n t h e r o u t e s i n a n d o u t o f t h e Te c h n o C i t y . C y b o t ro n ' s Techn o City i s t h e S o n i c F i c t i o n o f t h e C h r o n o t o p i a , t h e c i ty i n t i m e .

07( 1 0 2 ] E l e c t r o n i c Sece s s i o n Te c h n o s e c e d e s from t h e r u t h l e s s l y p a t ro l l ed h o o d s o f T r a d H i p H o p . H ip Hop updates bla xploitation ' s territori e s ; i t repre s ents the s treet. B y o p t i n g o u t o f t h i s l o g i c o f r e p r e s e n t a t i o n , Tec h n o d i s a p p e a rs i t s e l f fro m t h e s t r e e t , t h e g h e t t o a n d t h e h o o d . D r e x c i y a d o e s n ' t r e p r e s e n t D e t ro i t t h e w a y M o b b D e e p i n s i s t t h e y r e p r es e n t S ta t e n I s l a n d . F u t u ro p o l i s o f t h e P r e s e n t T h e Te c h n o C i ty i s a fu t u ro p o l i s o f t h e p r e s e n t , p l a n n e d , s e c t i o n e d a n d e l ev a ted from s t a t i o n t o s t u d i o , t ra n s m i t t i n g from a D e t ro i t i n t ra n s i t i o n fro m t h e i n d u s t r i a l t o t h e i n fo r m a t i o n a g e . F o r C y b o t ro n ' s s o n i c t h e o r i s t a n d s y n t h e s i s t 3 0 7 0 • · R i c h a r d D a v i e s , ' 8 4 ' s Techno Ci ty i s t h e i n te r s e c t i o n o f 2 f u t u r e s t a t e s . Techno City i s w h e r e t h e 3 0 t h C m e ga l o p o l i s o f F r i t z L a n g ' s Me tropolis m e e t s t h e e m e r g i n g T- N e t o f c o r p o r a t e b o o s t e r A l v i n To ffl e r ' s The Third Wa ve. ' Te c h n o C i ty w a s t h e e l e c t r o n i c v i l l a g e . I t w a s d i v i d e d i n to d i f fe r e n t s e c t o r s . I ' d w a tc h e d F r i tz L a n g ' s Me tropolis - w h i c h h a d t h e p r i v i l eged s e c t o r s i n t h e c l o u d s a n d t h e u n d e r g r o u n d w o r ke r ' s c i ty . I t h o u g h t t h e r e s h o u l d b e t h ree s e c t o r s ; t h e i d e a w a s t h a t a p e r s o n c o u l d be b o r n a n d r a i s e d i n Te c h n o C i t y, t h e w o r ke r ' s c i ty, b u t w h a t h e w a n t e d t o d o w a s w o r k h i s w a y t o t h e c y b o d r o m e w h e r e a r t i s t s a n d i n te l l ec t u a l s r e s i d e . T h e r e w o u l d be n o M o r l o c h , b u t a l l s o r t s o f d i v e r s i o n s , g a m e s , e l e c t ro n i c i n s t r u m e n t s . ' E vo l u t i o n a ry E l e c t r o n i c s E l e c tr i fy i n g M oj o ' s n i g h t l y s h ow i s t h e fi r s t s t a g e i n Te c h n o ' s evo l u t i o n a ry d r i v e i n to t h e d a n c e , i ts m o v e m e n t f r o m N a t i o n 2 N a t i o n t o Wo r l d 2 Wor l d to G a l a x y 2 G a l a x y . W i t h C y b o t ro n ' s Techno City, i n l a b e l s l i ke C a r l C r a i g ' s P l a n e t E , i n U n d ergro u n d R e s i s t a n c e ' s R e d P l a n e t s e r i e s a n d t h e i r B l a c k P l a n e t S t u d i o s , t h e m u s i c a rr i v e s f r o m a n o t h e r p l a n e t . Wa v e fo r m s a r e fi c t i o n a l i z e d i n to o f fw o r l d s e t t i n g s , l u n a r s u n s e t s . E l ec t r o n i c s i s i m a ged i n s l eeve a r twork - A b d u l H a q q ' s Th i r d E a r t h , Fra n k i e C . F u l i tz ' s D r e x c i y a n l a b e l v i s i o n s , A l a n O l d h a m ' s Tra n s m a t l a b e l - e x c e r p t s from a p o s t - M od e s ty B l a i s e e p i c , R u fu s K n i g h t w e b b ' s a n g u l a r s l e e v e - a r t f o r S u b u r b a n K n i g h t ' s The A rt of Sta lking.

07[ 1 0 3 ] The P o s s i b i l ity S p a c e o f F i c t i o n a l F r e q u e n c i e s C y b o t ro n ' s Techno Ci ty, l i ke a l l t h e s e p o s s i b i l i ty s p a c e s , i s S o n i c F i c t i o n : e l e c t r o n i c fi c t i o n , w i t h freq u e n c i e s fi c t i o n a l i ze d , s y n t h e s i ze d a n d orga n i zed i n to e s c a p e r o u t e s . S o n i c F i c t i o n r e p l a c e s l y r i c s w i t h p o s s i b i l i ty s p a c e s , w i t h a p l a n f o r g e t t i n g o u t o f j a i l fre e . E s c a p i s m i s o r ga n i z ed u n t i l i t s e i z e s t h e m e a n s o f p e r c e p t i o n a n d m u l t i p l i e s t h e m o d e s o f s e n s o ry rea l i ty. W h i c h i s w h y y o u s h o u l d a l w a y s l a u g h in t h e face o f those p r o d u c e r s , djs a n d j o u r n a l i s t s w h o s n e e r a t e s c a p i s m for i t s unreali ty, f o r i t s fakeness; a l l t h o s e w h o s t r a i n to k e e p i t rea l . T h e s e a s s u m p t i o n s w i s h t o c l i p y o u r w i n g s , t o t i e y o u r forked ta i l t o a t r e e , t o h a n d c u ff y o u t o t h e r o t t i n g r e m n a n t s o f t r a d i t i o n , t h e i n h e r i te d s t u p i d i t i e s o f h a b i t , t h e d e a d w e i g h t o f y o u r s e l f. C o m m o n s e n s e w a n t s t o s e e y o u b e h i n d t h e b a r s i t ca l l s R e a l l i fe . By contrast, S o n i c F i c t i o n s t r a n d s you i n the present w i t h no w a y o f getting back t o t h e 70s. S o n i c Fiction i s t h e first stage o f a reentry progra m w h i c h g r a s p s t h i s very c l e a r l y . S o n i c F i c t i o n s a r e p a r t o f m o d e r n m u s i c ' s M y t h S y s t e m s . M o v i n g t h r o u g h l i v i n g s p a c e , rea l - w o r l d e n v i r o n m e n t s t h a t a re a l re a d y a l i e n . O p e ra t i n g i n s tr u c t i o n s for t h e e s c a p e r o u t e fro m y o u r s e l f. Overthrow t h e I n t e rn a l E m p i re o f y o u r head. S e c e d e fro m t h e s t u p i d i ty o f i n te l l i ge n c e , t h e i n e r t i a o f good t a s t e , t h e rigor mortis o f c oo l . Yo u ' re b o r n i n to a r i gged p r i s o n w h i c h t h e j a i l o r s t e r m R e a l li fe . S o n i c F i c t i o n i s t h e m a n u a l f o r y o u r own o ffwor l d brea k - o u t , r e e n t r y progra m , f o r e n t e r i n g E a r t h ' s orb i t a n d t o u c h i n g down o n t h e l a n d i n g s t r i p o f y o u r s e n s e s . W e de dica te t h i s a l b u m to t h e p e op l e o f t h e D e tro i t M e trop lex. T o s u rvive we m u s t t e ch n o fy a n d s a ve t h e b io s p h e re Cybotron Te c h n o f i c a t i o n : t h e C o n c e p t e c h n i c s of Te c h n o To E N T E R t h e C y b o t r o n wor l d i t ' s n e c e s s a ry t o t e c h n o fy fi r s t y o u r s e l f, t h e n the w o r l d . P r e s s the E N T E R b u tt o n o n the R o l a n d c o m p o s e r . P r e s s PATT E R N C L E A R f o r r h y th m a t i c s y n t h e s i s . To t e c h n o fy i s to b e c o m e a w a r e o f t h e c o ev o l u t i o n o f m a c h i n e a n d h u m a n , t h e s e c r e t l i fe o f m a c h i n e s , t h e c o m p u t e r i z a t i o n o f t h e w o r l d , t h e progra m m i n g o f h i s tory, t h e i n fo r m a t i c s o f re a l i ty .

07[ 1 0 4 ) To te c h n o fy i s t o e v o l v e a m i n d s t a t e w h i c h gra s p s t h e m i g ra t i o n p a t h s o f m a c h i n i c p r o ce s s e s , b u i l d s S o n i c F i c t i o n s from t h e e l ec t r o n i c s o f e v e r y d a y l i fe . T o t e c h n o fy i s t o o p t i m i z e t h e m a c h i n i c m u ta t i o n o f m u s i c . S y n t h e s i z e Yo u r s e l f B e h i n d t h e d i s a p p e a r i n g o f D e t ro i t Te c h n o i n t h e U S , t h e r e ' s t h e s e n s e t h a t Tec h n o b e t r a y e d a n u n s p o k e n o a t h . I t w a s s e d u c e d b y M a n u e l G o t t s c h i n g , b y L i a i s o n s D a n ge r e u s e s - by a l l t h a t E u ro s y n t h m u s i c ­ a n d t h i s t r i ggers t h e u n s p o k e n b u t p e r s i s t e n t s e n s e o f a b a n d o n i n g A f r i c a n · Am e r i c a n t ra d i t i o n . T h i s l oy a l ty a s s u m e s a n u m b i l i c a l • c o n n e c t i o n to r o b . D e t ro i t Tec h n o b r e a k s e x h i l a ra t i n g l y w i t h r o b - b u t then i t was never rooted i n i t to begin with. I t w a s a l wa y s s y n t h e t i c , fro m t h e a e r i a l s u p . C r i t s w o u l d s t i l l a s k , ' H o w co u l d G ra n d m a s te r F l a s h a n d B a m b a a t a a like Kra ftwerk?' O b v i o u s . B a m b a a ta a i s a tt r a c t e d to a n a l i e n E u r o s o u n d , b o r e d w i t h a n d i n d i ffe r e n t to fa m i l i a r A f , · A m s o u n d . B u t a t t h e s a m e time, whi1e sound isn't al ien at a l l . Nothing that attracts is alien. B a m b a a t a a w a n t s t o a r t i fi c i a l i z e h i m s e l f. W h i t e - fr a m e d s l i ts h a d e s s ca n n i n g t h e t r a c k , t h e fa s h i o n o f a Pa r l i a fu n ka d e l i c m e n t o u t p o s t l e ft o n a n o ffwo r l d c o l o n y t o d e v e l o p i t s o w n s i l i co n - b a s e d M y t h S y s t e m s . The dj ' s r o l e i s t o i n t en s i fy e s t r a n g e m e n t , to t r a n s m i t the c u r r e n t s o f t h e a l i e n . B u t t h e d j d o es n ' t k n o w w h a t s h e wa n ts u n t i l s h e h e a r s i t . T h e F u t u r i s t i s h e l p l es s i n t h e f a c e o f fa s c i n a t i o n . Yes t e r d a y t h i s t r a c k w a s u n kn o w n , u n h e a rd , u n d r ea m t . Tod a y y o u fo l l ow i t l i ke a s l eepwa l ke r . journa l i s m i nverts t h i s unknowingness - How can I know what I w a n t? - i n to a d e m a n d : ' H o w c a n y o u l i ke w h a t y o u l i ke ? ' j o u r n a l i s m ' s j o b i s t o b u i l d t h e b o r d e r , be t h e ga t e k e e p e r , m a n t h e cros s i n g . T h e F u t u r i s t m o v e s c a re l e s s l y p a s t a p o l a r i z a t i o n w h i c h w a s n e v e r t h e r e . W h i te j o u r n a l i s m a l w a y s a s k s t h e s a m e q u e s t i o n : ' H o w c o u l d t h i s w h i t e s t o f g r o u p s e x e r t t h i s p o w e r fu l i n fl u e n c e o v e r B l a ck M u s i c ? ' S i m u l t a n e o u s l y s m u g a n d i n c red u l o u s , i t te l l s y o u , o v e r a n d o v e r , t h a t K r a ft w e r k a r e Te c h n o ' s p r e c u r s o r s , i t s r o u t e s - r o c k e r s . B u t h a v i n g t a u g h t Te c h n o p r o d u c e r s a l l t h e y k n o w , t h e o r i g i n a t o r s m u s t r e c e d e i n t o t h e d i s t a n c e a s Tec h n o , s i m p l e l e s s o n s m a s te r e d , a d v a n c e s i n e x o r a b l y i n t o t h e fu t u r e .

07[ 1 0 5 ] Wh i t e N o i s e f o r S n a r e s D r u m s a n d E l e c t ro n i c s c o n v e r g e o n t h e n e w p os s i b i l i t y s p a c e o f r h y t h m a t i c s a n d s y n c u s s i o n . A s K r a ftwerk re a l i z e d , s o u n d m a c h i n e r y d e ­ ski l l s and dephysical izes m u s i c , a l l owing 'thinking and hearing' p r e c ed e n c e o v e r ' g y m n a s t i c s . P r a c t i s i n g i s n o l o n g e r n e c e s s a ry . ' The m u s i c i a n becomes a n e l ectron i c progra m mer, a p u s h - button p e r c u s s i o n i s t w h o t a p s E N T E R w i t h t h e f i n g er t i p s . T h e d r u m - m a c h i n e i s re a l l y a s y n t h e s i ze r w h i c h p l a y s b a c k s e q u e n ce s o f a u t o m a t i c i n te n s i t i e s , p i t c h , n o i s e . M o d e l 5 0 0 m a ke s u p ' d r u m s o u n d s o n t h e K o r g M S 1 0 s y n t h e s i ze r . I w o u l d p l a y a r o u n d w i t h w h i te n o i s e a n d p i n k n o i s e a n d c o m e u p w i t h d r u m s o u n d s . I h e a rd a K r a ftwerk r e c o rd t h e f i r s t t i m e . T h e record w a s Man Ma ch ine a n d o n a l o t o f t h e s o n gs t h e y were u s i n g w h i t e n o i s e for s n a re s i n j u s t t h e s a m e w a y t h a t I wa s . · Scie n c e fic t i o n d o e s n ' t p r e dict t h e fu t u r e , it d e t e r m in e s i t , c o lo n iz e s i t , p re-p r o g ra m s i t in the image of t h e p re s e n t William Gibson P re p r o g r a m t h e F u t u r e D e t ro i t Tec h n o o r ga n i ze s a h i s t o r y a n d p r e p ro g r a m s t h e fu t u r e d i re c t i o n o f t h e R h y t h m a c h i n e . A s j u a n A t k i n s d e c l a re s ' I t w a s s o a m a z i n g . I t w a s l i ke t h e a n s w e r . I t w a s t h e f u t u r e for m e . I t h o u g h t m a n , t h i s i s t h e fu t u r e a n d t h i s i s w h e r e I ' m t ry i n g to g o . I f you l i s t e n to W e A re th e Robo ts t h e r e a r e n o c y m ba l s . I h e a rd my s n a re s o u n d s a n d I h e a rd m y kickdrum sound o n t h i s record. But the thing was that i t was more p r ec i s e . I t w a s l i k e w h a t I w a s t ry i n g t o d o b u t co u l d n ' t g e t t o , y o u k n o w ? T h e n I h e a rd t h e g a t e d n o i s e s n a re a n d t h e g a t e d n o i s e k i c k w i t h n o c y m b a l s . I t j u s t froze m e i n m y t r a c ks . · T h e C y b o r g i n t h e N e tw o r k o f F o r c e s I n n a m i n g h i m s e l f M o d e l 5 0 0 , j u a n A t k i n s a ff i r m s t h e m a c h i n e s t a t e w h i c h u s e d to b e c a l l ed d e h u m a n i z a t i o n . G u n t h e r F ro h l i n g ' s ' 7 8 Man Ma chine s l e e v e s h o w s a c h o r u s l i n e o f b a c h e l o r m a c h i n e s . T h e i n s i d e s l e e v e a r t s h o w s K r a ftwerk w i t h d y e d b l a c k h a i r , b l a c k e y e l i n e r , red l i p s t i c k o n their m i n u s c u l e , s e a l e d - u p m o u t h s , red s h i r t s and b l a c k t i e s . T h e r i g h t a r m i s h e l d a t t h e h i p a n d a l l a re l o o k i n g r i g h t . P o s e d o n a m e t a l s t a i rw a y w i t h red r a i l s , a l l b a c h e l o r s w i t h no b r i d e .

07[ 1 0 6 ] T h e n a m e M o d e l 5 0 0 a n n o u n ce s t h e p r o d u c e r a s t h e n e x t m o d e l , t h e s y n t h e s i ze r o f t h e fu t u r e . T h e p r o d u c e r i s n o w t h e m od u l a r i n p u t , w i l l i n g l y a b s o rb e d i n t o M c l u h a n ' s ' m ed i u m w h i c h p r o c e s s e s i t s u s e r s , w h o a r e i t s c o n t e n t ' Ta p p i n g i n to t h e e n e rgy f l o w o f t h e m a c h i n e , t h e F u t u r i s t b e c o m e s a n e n e rgy g e n e r a t o r . C y b o rg i n g t u r n s t h e h u m a n i n t o S a m u e l B u t l e r ' s m a c h i n a t e m a m m a l , p a r t o f a n o n go i n g c o n n e c t i o n machine. Machines R US. Donna Haraway: 'The machine i s us, our processes, a n aspect of our embod i ment. ' To c y b o r g y o u rs e l f y o u n a m e y o u r s e l f a ft e r a p i ece o f t e c h n i c a l e q u i p m e n t , b e c o m e a n e n e rgy g e n e r a t o r , a c h a n n e l , a m e d i u m fo r t ra n s m i t t i n g e m o t i o n s e l e c t r i c . The p s y b o r g p l ugs i n to m a c h i n i c p r o c e s s e s , d ra w s o n t h e e l ec t ro n i c e n e rgy o f. . . every t h i n g . I t b e c o m e s a c o m p o n e n t of t h e u n b u i l t fu t u r e w o r l d m a c h i n e s , a n e l e m e n t i n G o l d i e ' s c u b o i d r o m e p i ec e , i n B a s q u i a t ' s s a m p l a d e l i c Pegasus m a c h i n e . C y bo r g i n g , to b o r r o w t h e w o r d s o f N o r m a n M a i l e r, ' t a k e s t h e i m m ed i a te e x p e r i e n c e s o f a n y man, magni fies t h e dyn a m i c of his movements, not speci fica l l y but a b s t r a c t so t h a t h e i s s e e n a s a v e c t o r i n a n e t w o r k o f fo rce s . ' Heteronyms L i ke U n d e rg r o u n d Re s i s t a n c e a s X - 1 0 2 , W o r l d z Wo r l d , G a l a x y 2 G a l a x y , T h e M a r t i a n , l i ke K o o l K e i t h a s F u n k I gn i te r P l u s , R h y t h m X , D r O c t a g o n , l i ke 4 H e r o as Te k 9, I n t e r n a l A ffa i rs , Tom fi j e r ry, N u E r a , J u a n A t k i n s m u l t i p l ies h i msel f into machi n e names: Msoo, X- Ray, Channel One F r e q u e n cy, A u d i o te c h a n d l n fi n i t i . T h e p ro d u c e r d i s a p p e a r s i n to e a c h a l te rego b u t t h e m a c h i n a te n a m e i s n o t a p s e u d o n y m , a fa ke n a m e . R a t h e r i t ' s a h e teronym, a m a n y - n a m e . o n e i n a s e r i e s o f p a ra l l e l n a m e s which d i stributes and d i s perses you i nto the public secrecy o f open a n o n y m i ty. I i s a c r o w d : t h e p r o d u c e r e x i s t s s i m u l ta n e o u s l y , e v e r y a l terego a n advertisement for myselves. The Rhythmach i n e actively sets o u t to m a n u fa c t u re a s m a n y p e r s o n a l i t i e s a s p o s s i b l e . A l t e r e g o s a r e m o r e r e a l b e c a u s e y o u c h o o s e t h e m . O r d i n a r y n a m e s a r e u n re a l b e c a u s e you d i d n ' t . M u l t i -egos are more real s t i l l beca use they designate your para l l e l states. C h i l d r e n , i n s t i n c t u a l a n i m i s t s , i d e n t i fy w i t h t o y s a n d d o l l s , s u bj e c t i n g t h e m s e l v es t o a n d p r oj e c t i n g o n t o t h e I n a n i m a te : e v e r y 1 2 - y e a r - o l d k n o w s t h a t I i s a n o t h e r a n d a n o t h e r a n d a n o t h e r . I n t h e 7 0 s , t h e B ow i e h e t e r o n y m s - M aj o r To m , A l a d d i n S a n e , Th i n W h i te D u ke - w e r e s e r i a l . N o w h e t e r o n y m s c o m e i n p a ra l l e l . To d a y , t h e F u t u r i s t p r o d u c e r i s a l w a y s g r e a t e r t h a n o n e , a l wa y s m u l t i p l y i n g i n t o o m n i - d u o s , s i m u l ta n e o u s l y

07[ 1 0 7 ] d i ve r g i n g s e l v e s t h a t n e v e r c o n v e r g e i n t o k n o w l e d g e o f s e l f. I n s t e a d o f d i s c i p l i n i n g o t h e r s t h ro u g h t h e d e s p o t i c s t a n d a rd o f kee p i n g i t r e a l , s t a y i n g t r u e t o t h e ga m e . r e p r e s e n t i n g o r s t a y i n g b l a c k , A l i e n M u s i c p r o l i fe r a t e s m i n d s ta t es w h i c h n e v e r a m o u n t t o o n e m i n d . T o u n i fy t h e s e l f i s t o a m p u t a t e t h e s e l f. Rhyt h m a t i c C o n s c i o u s n e s s To t e c h n o fy m e a n s t o s y n t h e s i z e m u s i c fro m t h e s a m e r o b o t i c r h y t h m s t h a t t o o k D e t ro i t ' s h u m a n s o u t o f t h e l o o p . M so o : ' Be r r y G o r d y b u i l t t h e M o to w n s o u n d o n t h e s a m e p r i n c i p l e s a s t h e c o n v e y o r b e l t s y s t e m o f F o rd . ' M o to w n a m p l i fi e d t h e s o u n d s c a p e o f t h e 6 o s m o to r t o w n m e t r o p o l i s : 'To d a y t h e p l a n t s d o n ' t w o r k t h a t w a y . They u s e c o m p u t e r s a n d r o b o t s t o b u i l d t h e c a rs . ' Metroplex = M e t ro p o l i t a n C o m p l e x M o d e l s o o ' s r e c o r d l a b e l - M e t r o p l e x - a m p l i fi e s t h e a s s e m b l y - l i n e l a n es o f t h e 8 o s m e t r o p o l i ta n c o m p l e x . T h e m e t r o p l e x i s t h e fu t u r o p o l i s i n t h e Th i r d Wave o f t h e Tec h n o E r a . ' I ' m p r o b a b l y m o r e i n te r e s t e d i n Ford ' s r o b o t s t h a n B e r r y G o r d y ' s m u s i c . ' Th i s c r o w d o f cyborgs - M o d e l s o o , A u d i o t e c h , X - R a y , C h a n n e l O n e , F r e q u e n c y - a l l t u n e i n to t h e c h u n k- a - c h u n k - a r h y t h m s o f t h e F o r d r o b o t . B u i l d i n g a c a r b e c o m e s t h e D a n c e o f t h e I n d u s t r i a l R o b o t n i ks . Automanikk To t ec h n o fy i s t o t u r n t h e a u t o m a t i c s e q u e n c e i n to w h a t A G u y C a l l e d G e r a l d t e r m s a n a u t o m a n i k k t r a c k . F a r from b e i n g m e c h a n i c a l l y p r e d i c t a b l e , t h e a u to m a t i c b e c o m e s m a n i c . T h e g a t e d - n o i s e k i c k o f t h e R o l a n d 8o8 and 303 m a c h i n e s , their signa ture hardstrike, causes l a n g u a g e to o n o m a t o p o e i z e t h e ' c ' i n to ' k k ' . W i t h Tec h n o t h e m a c h i n e goes menta l . Defrictional Te c h n o d e fr i c t i o n a l i z e s t h e fu n k . I ts a n g u l a r a t t a c k v e l o c i t i e s a r e t h e o p p o s i t e o f a n y s n a k e - h i p p e d 7 0 s g r o o v e . W h e r e Pa r l i a m e n t u r g e d y o u t o d a n c e y o u r w a y o u t o f y o u r co n s t r i c t i o n , Tec h n o t r i g g e r s a d e l i b i d i n a l e co n o m i c s o f s t r i c t p u l s e s , g a t e d s i g n a l s - w i t h Tec h n o y o u d a n ce y o u r w a y in to y o u r c o n s t r i c t i o n . D i a g o n a l s c o r n e r y o u , c re a t i n g a n e w k i n d o f tension that does n ' t resolve i n expected pl aces. This i n turn creates new e x p e c t a t i o n s i n t h e l i s t e n e r a n d t h e p r o d u c e rs b e g i n t o c a l l t h i s fee l i n g

07[ 1 0 8 ] a b s t r a c t . Tec h n o ' s u p t i g h t n e s s , i t s everywh i c h w a y - b u t - l o o s e n e s s i s n o t so much m a ladroit as malandroid. Cubular Te c h n o i s a n g u l a r fu n k for a n d r o i d s , m a n d r o i d s a n d w o m a n d r o i d s . M o re t h a n a n g u l a r, i t ' s c u b u l a r : Tec h n o t ra n s m i t s s e n s a t i o n s of c u b o i d a n d t u b u l a r s o u n d , s e t s o r r a cogn i t i v e d i s s o n a n c e t h r o u g h o u t t h e l a rge b ra i n o f t h e b o d y . I ts t e x t u r h y t h m s p ro v o k e a n i n ex t r i c a b l e i n t r i c a c y , a m a z e o f l i m b i c d i s s o n a n c e t h a t b l o c k s a n d b a f fl e s , t h r e a t e n s a n d e n t r e a t s . W i t h R h y t h i m i s R h y t h i m ' s ' 9 2 Ikon a n d Kao - tic Harm ony [Relic o f Relics), s e q u e n c i n g c o m p l e x i fi e s i n t o a n a l l a to n c e n e s s , a n a l ge b r a o f u n t i t l e d e m o t i o n s . ' M y c o n c e p t h a s a l w a y s b e e n to g e t t h e fe e l from a l l d r u m - m a c h i n e s s i m u l ta n e o u s l y, ' M a y e x p l a i n s . ' I try t o c o n n e c t a l l t h e fee l s s o t h a t t h e y a cc e n t a n d b o u n c e o f f o f e a c h o t h e r . ' T h e s e q u e n c e r i s tied t o a s i n g l e c l ock, b u t r u n n i n g 3 rhythm patterns a n d 2 bass s e q u e n c e s a t o n c e y i e l d s a bew i tc h i n g m o s a i c o f o v e r l a p p i n g r h y t h m e l o d i e s , a n a u r a l a l g e b r a t h a t c o n fo u n d s c o u n t i n g , t h a t t u g s a t y o u e v e r y w h i c h wa y , c o m pe l l i n g a n a l l - o v e r o m n i a t t e n t i v e n e s s . W h e n sequences bounce and clock cycles nudge, when the rims of texturythm m e e t t h e e d g e o f r h y th m e l o d i es , t i m e t o u c h e s t i m e i n a m a c h i n e k i s s . By sampling a chord and playing i t back as a s i ngle note, the original c h o rd e x p a n d s i n t o a key b o a r d . U n l oca t a b l e i n t e r m e d i a t e t o n e s e m e r g e , w h i c h M a y t h e n e x a ggera t e s b y j u m p i n g b e t w e e n o c t a v e s o f t h e e x p a n d e d c h o r d s p e c t r u m s o t h a t t h e s o u n d s h oc k c u t s a s t r e a c h e r o u s l y a s s p r i n g l o a d e d s t a l a c t i te s . T h e re s u l t i s a s e n s e o f s o l e m n e x a l t a t i o n . R h y t h i m i s R h y t h i m ' s s y n t h a r m o n i c o r c h e s tra t i o n m o v e y o u t h r o u g h a n i m p a l p a b l e p o r t e n t , a c o s m i c i n d i ffe r e n c e e x e m p l i fi e d by t h e t i t l e a n d a r r a n ge m e n t o f ' 8 7 ' s It I s Wha t I t Is. ' M y s t r i n g s o u n d s a re v e r y c o l d , very c a l l ous, ' he expl a i n s . This c a l lousness i s anempathetic i n M ichel Chion's sense, because 'it doesn ' t care a n d for t h i s very reason, takes o n , i n a m a s s i v e t ra n s fe r e n c e , t h e w e i g h t o f a h u m a n d es t i n y w h i c h i t s u m s u p a n d d i sd a i n s . ' I n Kao - tic Harm ony, t h e s e g l a c i a l t o n e s t u r n a q u a m a r i n e , a r e h e a rd u nd e rw a t e r . T h e s p h e r e s h a v e l o n g s i n c e c o l l a p s e d i n to a s u b l i m e s p a ce w r e c k , a b o m b e d - o u t re l i c o f re l i c s .

07[ 1 0 9 ] U F O s , t h e y 're drawn t o e le c t ric p o we r . Th ey h o ve r o v e r t h e p o we rp l a n t , j u s t o ve r t h e re Fox /ltulder U fo n i c S u n g w i t h t h e d r a i n e d fa n a t i c i s m o f a n a b d u c te e , M o d e l s o o ' s ' 8 5 No UFOs {Original Vocal Mix} d r a g s y o u i n to t h e u fo n i c e x p e r i e n c e . ' W h e n t h e s y n t h e s i z e r c a m e a l o n g i t w a s p e r fe c t f o r m e b e c a u s e i t a l l ow e d m e to m a k e s o u n d s t h a t w e r e i m po s s i b l e . ' F o r J u a n A t k i n s , e l ec t ro n i cs s w i tc h e s on a n u n rea l i ty p r i n c i p l e . ' I w a s i n to U FO s l a n d i n g a n d t a k i n g o ff. a n d s p a c e s h i p s . T h e s y n t h e s i z e r a l l o we d m e t o c r e a t e , i n m y b e d r o o m , t h e s o u n d o f w h a t i t w o u l d b e l i ke i f a U F O l a n d e d i n t h e fro n t y a rd . ' E d d i e " F i a s h i n " F o w l kes reca l l s ' a s t o r y a b o u t J u a n a n d t h e o t h e r C y b o t r o n g u y s go i n g t o a b u i l d i n g a n d s o m e g u y d r a w i n g a c i r c l e a r o u n d t h e m . T h e y s a t i n a c i rc l e w a i t i n g fo r t h e c y b o t r o n s to c o m e d o w n . ' I wa n t e d t o l a n d a U F O o n t h e t r a c k /lt o d e l 5 0 0 The M o u t h I s a Hole for the S o u l T h e M s o o v o i c e h o l l ow s t h e s o u l i n t o a n a ffe c t l e s s , t r a u m a t i z e d v o i d . T h e m o u t h i s a h o l e t h r o u g h w h i c h t h e s o u l d ra i n s a w a y . T h e M s o o accent does n ' t emote: i n stead i t [r)emotes, recedes into earshot, o r a c u l a r p o r t e n t s f r o m t h e e n d o f a t u n n e l . N o UFOs h a s t h e o m i n o u s i m m inence o f whi teness synthesized out of Bauhaus, Depeche Mode and G a ry N u m a n : 'Te l l m e i f i t ' s a l r i g h t / Y o u s a i d 1 s h o u l d n o t fea r / t h i n g s y o u h a ve n ' t s e e n b e fo r e / a r e co m i n g v e r y n e a r . ' Yo u r B r a i n I s C a u g h t u p i n t h e N e t B y r u n n i n g 2 R h y t h m a c h i n e s a t o n c e , p ro g r a m m e d w i t h s e p a r a t e p a r t s , N o UFOs b l o c k s a n d b o u n c e s y o u r b o d y i n a m a z e o f i n t e r l o c k i n g i n h i b i t i o n s . Wo o d b l o c k s w i t h t h e w o o d d e l e t e d a n d r e p l a c e d w i t h t h e a n e m p a t h y o f m e t a l o n m e ta l . H a n d c l a p s , t h e i m p a c t o f p a l m o n s k i n , a re r e p l a c e d b y w h i te n o i s e g a t e d i n t o m e ka n i k m a t c h s t r i ke s , a m p l i fi e d i n to t h e i n e x p r e s s i v e a s p i r a t i o n o f m a c h i n e s w i t h a s t h m a . T h e S o n g i s repl aced by nonsequen t i a l sequences of rhythmatic e lectricity. G a t i n g c u t s o f f t h e a t t a c k o f t h e e n v e l o p e s o t h a t R o l a n d 8 o 8 a n d 9 0 9 b e a t s a re a l l a b r u p t n e s s : fro m o to 1 l i ke a t r a p s h u t t i n g .

07 [ 1 1 0 ] I n s t e a d o f b e i n g p r o p e l l e d fo r w a r d b y T h e J B ' s fu n k m o n a u ra i l , t h e r h y t h m s f r u s t r a t e a l l g r o o v e , i m pe d i n g y o u . M e l o d y i s r e p l a ce d by b a s s s y n t h s t h a t s t a b , w i t h t h e t en s i o n - i n d u c i n g t e x t u r h y t h m s o f a t e n n i s ba l l b e i n g bounced b u t never served . Constri c t i n g Z a p p ' s Spandex bass i n to a n o u n c e o f i t s b o u n c e , t h e M s o o s y n t h g e n e r a tes b a s s t a b s w h i c h s t r e s s o u t t h e r e f l e x e s w i t h t h e i r i r regu l a r r e g u l a r i ty . I n N o UFOs, A t k i n s i s d i s c o n n e c t e d fro m s p a c e by h i s c o n v i c t i o n t h a t t h e r e a r e U F O s : ' T h e y s a y t h e r e i s n o h o p e/They s a y N o U FO / W h y i s y o u r h e a d h e l d h i gh / M a y b e y o u ' l l s e e t h e m f l y y yy yyy y y i n g i i i n gg i n n n g . ' N o A s t ro < > B l a c k coa x i a l c a b l e s . T h e s p a ce l i n k i s b r o ke n . Th i n g s y o u h a ve n ' t s e e n b e fore a r e c o m i n g ve ry n e a r Hodel soo [ R ] e m ote S n a tched i n t o t h e f x zone, t h e voice e n ters w h a t post- rock group S a b a l o n G l i t z t e r m t h e u fo n i c s t a t e . T h e u fo e x p e r i e n c e b u r s t s a c o u s t i c s a p a r t i n a fe a r fu l u p h o r i a , s h a t t e r s t h e v o i ce i n t o a h o s t o f p o l y v o w e l s , t h e p l a s h o f t y r e s t h ro u g h ra i n , t h e e c h o o f b a r re l s ro l l i n g d o w n a w e t s i d e s t r e e t i n t h e c o l d l i g h t o f n i g h t . Tec h n o ' s a n e m p a t h e t i c t o n e s e m p t i e s a l l t h e h e a t fro m e m o t i o n , l o w e r i n g t e m p e r a t u r e u n t i l y o u w a n t t o s h e l te r from y o u r b o d y ' s a l t e r e d c o n d u c t i o n . P u tt i n g t h e s o u l o n i ce d i s eq u i l i b r a t e s y o u r t h e r m o s t a t i c b a l a n c e , g e n e r a t i n g h a l l u c i n a t i o n s o f t h e s k i n , t h e s e n s a t i o n o f b e i n g a tt a c ke d by c o l d a n g l e s . Y o u p u t a d i s ta n ce b e t w e e n you a n d y o u r s e l f. Drive through the Darkside M o d e l s o o ' s ' 8 5 Nigh t Dri ve lthru Ba bylon) l a u n c h e s t h e D a r k s i d e o f D e t ro i t Tec h n o w h e re i n b a c h e l o r m a c h i n e s s t a l k t h e n i gh t , rea r i n g u p o n t h e i r h i n d q ua r ters . M o d e l s o o p r o w l s t h e t e l e p ho n u m b i l i c a l c o n n e c t i o n , a fu r t i v e p e r v e r t o b s c u r e d by s y n t h s . T h e v o i c e s l i p s p a s t h e a r i n g as i t s l e e p s l i ke a d o g , a s u b l i m i n a l s h a d o w t h a t c r e e p s a l o n g t h e s k i n , s ta l ks y o u w i t h i t s l i gh t b r e a t h : ' I ' m d r i v i n g t h r o u g h b l a c k on b l a c k i n b l a c k . ' The n i gh t d r i v e r fee l s l i ke 'a s n a k e , s l i d i ng down the s i d e o f a g l a s s s q u a re . ' S u b u r b a n K n i gh t ' s Th e A r t o f S talking /Stalker Mix) a n d R e e c e ' s jus t A n o ther Chance d e v e l o p t h i s d r i v e t h r o u g h t h e D a r ks i d e . S u b u r b a n K n i gh t s y n t h e s i s e s a s t e a l t h s c a p e o f s l i d i n g p i z z i c a to t h r o u g h w h i c h t h e hypotherm i c predator l unges and darts, crouches and techsteps. I n

07 [ 1 1 1 ) R e e c e ' s a u d i t i o n o f a n i g h t i m e w o r l d , i n s i d i o u s S p re c h ge s a n g p r o w l s t h e metroplex. Baleful bass miasma turns the a i r waxy, sapping your step, d r a g g i n g y o u t h r o u g h a q u a g m i re . S y n t h a s m a l i g n a n t a s S a r i n g a s s e e p s t h ro u g h t h e c y b o d r o m e . E n tr o p y p o w e r s t h e G r i d i n Te c h n o C i ty , D e s t ro i t . I n K . A l e x i S h e l by ' s A ll for L e e ·Sah, h i s v o l u m e l es s w h i s p e r s l u rs a n d s h u d d e r s , c l o a k i n g i ts c o n s o n a n t s . T h e b a t t e r i e s o f t h e h u n t e r s t a l k e r a r e r u n n i n g l ow . T h e c h o r u s o f r e v e r s e d s i gh s a n d p i n k n o i s e r e fra c t s i n to t h e j a pa n e s e w o r d ' H a i ' . I t ' s a d u e t f o r p r e d a t o r a n d p r e y i n w h i c h t h e N a s t a s s i a K i n s k i - i z e d v o i c e , d ra i n ed a n d i n d i ffe r e n t , s t u t t ers u n t i l s h e t u r n s i n to a f l o c k o f fl e e i n g c o n s o n a n t s . I n s i d e t h e Sanctuary o f Shockwave : T h e B o m b Sq u a d We A re t h e D i a g o n a l Tod a y ' s s c i e n c e f i c t i o n s t a r t s w i t h j a c k W o m a c k ' s El vissey a n d P a t C a d i ga n ' s Synners, W i l l i a m G i bs o n ' s Virtual Ligh t a n d B r u c e S t e r l i n g ' s Schizma trix - t o m o rrow ' s S o n i c F i c t i o n b eg i n s w i t h T h e B o m b S q u a d ' s p o s t - ' 8 8 t r a c kt i t l e s : War a t JJ. J , In ciden t a t 6 6 . 6 FM, Final Cou n t o f the Collision b e t ween Us and th e Damned, Termina tor X to the Edge of Panic, Termina tor X Speaks with his Han ds. For y o u , C h u c k D ' s v a l u e i s n ' t a s a n a m b a s s a d o r b u t a s a n i m a g i n ee r w h o s e t i t l e s c o n s t i t u t e Condensed Fiction: capsule epics o f the Electronic Age, the artificial t h o u g h t o f t h e a u d i oev e n t . T h e E n g i n e e r C ro s s e s t h e G l a s s W i t h T h e Bomb Squad - H a n k Shocklee, Keith Shocklee, E r i c 'Vietnam ' S a d l e r , C a r l Ryd e r - t h e e n g i n ee r , t h e p r o d u c e r a n d t h e p rogra m m e r b e c o m e a g r o u p i n t h e i r o w n r i g h t . B a c k r o o m s t a t u s i s r e p l a ce d by t h e e x p e r t i s e o f s o u n d d e s i g n e r s . A s H a n k S h o c k l e e s a y s , ' I t ' s l i ke s o m e b o d y t h r ow i n g r i c e a t y o u . You h a v e to g r a b e v e r y l i t t l e p i ec e a n d p u t i t i n t h e r i g h t p l a c e l i ke i n a p u zz l e . ' I n t h e fi l m s Preda tor 2, Ghos t i n the Shell, t h e A lien t e t r a l o gy, i t ' s a l wa y s t h e e n g i n ee r s who are r e a d y to t u r n t h e a l ien into k i l ler app. The engineer i s the lethal conceptechnician, not form i n g a g r o u p b u t ' a t ec h n i c a l a s s a u l t s q u a d r o n ' a l l t h e m o r e l e t h a l for its a n o n y m i t y . D e a d l i n e s s l i e s in i n v i s i b i l i t y, in t h i s r e t r e a t from the l i g h t i n t o . a p u b l i c s e c r e c y a n d p r i v a t e p u b l i c i ty . Pub l i c Enemy draw fire w i t h the visible target o f t h e i r logo. The

07[ 1 1 2 ] B o m b S q u a d a r e a c o u s m a t i c, h e a r d a n d u n s e e n , a d o p t i n g t a c t i c s o f s t e a l th a d a p t e d b y U n d e rg r o u n d R e s i s t a n c e . W i t h t h e s l e e v e a r t f o r ' 8 9 ' s Welcome t o the Terrordom e, e n g i n e e r i n g b e c o m e s i m a g i n e e r i n g . T h e 1 2 i s f i c t i o n a l i ze d a s a s o n i c d e v i c e , a b o m b , ' l a u n c h e d , fu e l l ed , p l a n ted a n d d e t o n a te d b y T h e B o m b S q u a d . ' I n t h e i r d u b m i x e s , T h e B o m b S q u a d i n v e n t a s a m p l a d e l i c e l ec t r o n i c s a t the heart o f H i p Hop that turns u p the volume of the worl d . A Detonating Calm C l o s e - m i k i n g e x p a n d s t h e f i e l d o f h e a r i n g . P e rc e p t i o n b l ow s u p a n d i n t h e r u i n s , t h e l i s t e n e r goes t r a ve l l i n g, c l i m b s t h e d e s o l a t e r u b b l e o f h e a d p h o n e co n s c i o u s n e s s . B y w h i s p e r i n g t h e c h o r u s t o ' 8 8 ' s L o uder than a Bomb, a r o a r b e c o m e s a h u s h t h a t d e l i v e r s you to s a n c t u a ry i n s i d e t h i s B o m b S q u a d s h o c k w a v e . I n ' 9 2 ' s B y th e Tim e I G e t t o A rizona, t h e a i r tremb l es i n a s p l i t-second p a u s e , m o t i l e with anticipation. B e a t s crack l i ke fo r l o r n f i r e w o r k s . T h e r e ' s a d e t o n a t i n g c a l m j u s t b e fo r e t h e r i o t k i c ks o ff w i t h t h e s w a g g e r i n g f u z z o f b oa c o n s t r i c t o r fu n k f l o w n i n fro m M a n d r i l l ' s Two Sis ters of Mercy. I n t h e s e c o n d b e fo r e s t r a f i n g , t h e o r g a n v i b r a to w e l l s u p , c r a d l i n g y o u i n b u o ya n t h a r m o n i c s . Wra p M e i n C a t a s t ro p h e T h e s y n t h e s i z e r r e v e r b a n d o c e a n s p u m e i n ' 9 1 ' s Can 't Truss I t {A lmigh ty Ra w 125 th Stre e t Boo tleg Mix] w r a p y o u i n t h e a r m s o f c a t a s t r o p h e . H e l i co p t e r s h o v e r i n to e a r s h o t . A t h u nd e r t h ro a ted v o i c e o v e r m u r m u rs i n t i m a te l y, ' I t s t a r t e d i n s l a v es h i p s . ' Can 't Truss It s i n t r o i s a n ' i n s t r u m e n t a l i n i t s e l f, T h e B o m b S q u a d a t t h e i r m o s t s u p e r s o n i c a l l y f i c t i o n a l , fa s t fo rw a rd i n g t h e M i d d l e P a s s a ge i n t o ' N a m u n t i l b o t h a rr i v e f r o m t h e fu t u r e . T h e A p o c a l y p s e i s N o w , 1 7 2 5 , o f f t h e E a s t C o a s t o f S a i g o n : ' S i a ve s h i p s . T h e r e a r e m o re r e c o r d s o f s l a v e s h i p s t h a n o n e w o u l d d r ea m . I t s e e m s i n co n c e i v a b l e u n t i l y o u r e f l e c t t h a t f o r 2 0 0 y e a r s s h i p s s a i l e d c a r ry i n g ca rgos o f s l a v es . ' T h e t ra i l e r t o n e s l o w s d o w n i n to V a d e r i zed p i t c h , a r e s t r i c t e d fre q u e n c y t h a t i n t e n s i fi e s e m o t i o n a l o u t p u t . T h e B o m b S q u a d d u n ks y o u i n z e r o t i m e u n t i l y o u fee l t h e a p o c a l y p s e t h a t ' s ' a l re a d y b e e n i n e ffec t ' . T h e r e ' s a h e i g h t e n ed a w a r e n e s s i n H i p H o p , fo s t e r e d t h r o u g h c o m i c s a n d s c i fi , o f t h e m a n u fa c t u r e d , d e s i g n e d a n d p o s t h u m a n e x i s te n c e o f A fr i ca n - A m e r i c a n s . A fr i c a n a l i e n s a r e s n a tc h e d by A fr i c a n s l a v e t r a d e r s ,

07 [ 1 1 3 ] d e l i ve r e d t o b e s l i c e d , d i c e d a n d g e n e t i c a l l y d e s i g n e d b y w h i te fa c e fa n a t i c s a n d c a n n i b a l C h r i s t i a n s i n to A m e r i c a n s l a v e s , 3 l 5 o f t h e i r s t a n d a rd i z e d n o r m , t h e i r W e s t w o r l d R O M . L i ke t h e r o b o t - K a r e l C a p e k ' s ' 2 1 Czech n e o l o g i s m f o r a m e c h a n i z e d w o r k e r - t h e s l a v e w a s a c t u a l l y m a n u fa c t u re d to fu l fi l l a fu n c t i o n : a s a s e r v o m ec h a n i s m , as a tra n s p o r t s y s t e m , a s fu r n i t u r e , as 3 l 5 o f t h e h u m a n , a s a fra c t i o n a l s u bj e c t . N o rb e r t W i e n e r c l i c ks o n e s c a p e : ' T h e a u t o m a t i c m a c h i n e i s t h e p r e c i s e e co n o m i c a l e q u i v a l e n t o f s l a v e l a b o u r . ' S l a v e s a r e a l i e n s . L e r o i j o n e s a dj u s t s t h e m a c r o s c o p e s e t t i n g : ' N o t o n l y p h y s i c a l a n d e n v i r o n m e n ta l a l i e n s , b u t p r o d u c t s o f a c o m p l e t e l y alien phi losophical system . ' l n humans, posthumans owing noth i n g to the h u m a n s p e c i e s . H e n c e t h e e n d l es s a rg u m e n t s i n t h e 1 8 t h C a b o u t t h e a b i l i t y o f s l a v e s to r e a d o r w r i t e , t h e e q u i va l e n t t o 2 o t h C a rg u m e n t s c o n c e r n i n g t h e p o t en t i a l e x i s te n c e o f a r t i f i c i a l i n t e l l i g e n c e . ' A t t h e eve o f t h e y e a r 2 0 0 0 , P r e s i d e n t D a v i d D u k e o f t h e U n i te d Wo r l d S t a t e s o f E u r o p e- A m e r i c a , h a s l a u n c h e d a fi n a l a s s a u l t o n p e o p l e s o f A fr i c a n d e s c e n t , t u r n i n g t h e r i g h te o u s i n t o n i gg a t ro n s . ' P E ' s Whole L o tta L o ve i n t ro is P h o n o F i c t i o n at the 23rd hour o f ' D e c e m b e r 3 1 s t 1 9 9 9 ' . Th r o u g h o u t , a m i s s i o n - c o n t r o l s a m p l e c o u n t s u p t o w a r d s z e r o from m i n u s 2 0 , freez i n g a t m i n u s p o i n t 666 r e c u r r i n g . F r o m t h e fu t u re o f r a c i a l w a r , Con tra c t on the L o ve World j a m i s T h e B o m b S q u a d a t t h e i r m o s t v o l u p t u o u s l y w o r l d - h i s to r i c a l . T h e Rhythmengine pushes you along with skratchadelic skids s l i p p i n g and s l i d i n g e i t h e r s i d e o f t h e d o w n b e a t , revv i n g u p a n a n t i c i p a t i o n s u s t a i n ed by c r a d l i ng g u i t a r h a r m o n i c s . I t i s a m i l i ta r y c o m m u n i q u e , a l e c t u r e , a p r e s s b r i e f i n g m o m e n t o u s l y i n to n i n g : ' T h e r e i s s o m e t h i n g l i v i n g i n t h e c o n s c i o u s n e s s o f t h e pe o p l e t o d a y . T h e race t h a t c o n t ro l s t h e l i v i n g p a s t c o n t r o l s t h e l i v i n g fu t u re . ' Vo l u p t u o u s Vi g i l a n c e Ve r g e , b r i n k, c u s p : t h e s e i m m i n e n t s t a te s a re s u s t a i n e d i n to p ro l o n ged t h r e s h o l d s , s t re t c h e d edges, i n c i p i e n t a c t i o n . T h e s a m p l e r ' s l o o p fu n c t i o n i te r a t e s t h e b r e a k i n to t h e b r i n k. ' 9 2 ' s A rizona A ssassina tion A ttemp t A cca Double Dub: p r e - s t a m p e d e w a i l s are s u s t a i n e d i n to a p a n i c w a v e w h i c h we l l s u p t h r o u g h t h e c r o w d ' s h e a d a n d w r i t h e s d o w n i t s t a i l . S c r e a m s e m erge t h e n fa l l b a c k i n t o a s w a r m o f s o b s , d i s s o l v e i n to a s m o t h e r e d s k y . C h o r u s e s a r e a s s e m b l e d from c r o w d p a n i c . D i s t r e s s t o n e s s t r e t c h i n to d o w n e r d r o n e s t h a t d r i v e t h r o u g h y o u r h e a d . ' 8 8 ' s Fina l Coun t o f th e Collision b e tween Us a n d th e Damn ed l a s t s

07[ 1 1 4 ] 0 . 4 8 s e c o n d s . T h e d r a s t i c d yn a m i c b e t w e e n t i t l e a n d m u s i c , a n d b e t w e e n s y n t a c t i c a n d s o n i c orga n i z a t i o n , s e t s t h e s e n s e s s e e s a w i n g . T h e t i t l e g ra t i fi e s d e s i r e fo r a n n i h i l a t i o n , t ea s i n g i t i n t o b o t h p r e p a r a t i o n a n d p o s t p o n e m e n t . Fina l Coun t i s a n e p i c o f p r o l o n g e d a b r u p t n e s s , i n w h i c h d r u m - m a c h i n e s r i co c h e t l i ke a n a u t o m a t i c r e p e a t r i fl e o v e r i c e - c o l d R h y t h i m i s R h y t h i m - s t y l e s t r i ngs a n d o m i n o u s d r o n e s . T h e B o m b S q u a d o p e r a t e i n t h e c o u n t d o w n to i m m i n e n t a p o c a l y p s e a n d i m p e n d i n g r i o t . G a n gs t a l i ve s i n t h e c h r o n i c t i m e o f D r O r e ' s G F u n k E r a , t h e o b s t i n a te i n d o l e n c e o f t h e g a n g s t a p a r a d i s e , a n e v e r e n d i n g idyl l of the id. A l a r m f o r t h e Wo r l d D r o n e s r e c u r i n d e f i n i t e l y a t 3 3 · 3 r e c u r r i n g, t ra p p i n g y o u i n d e s p o t i c t i m e . M i d ra n ge freq u e n c i es w i n d y o u u p t i g h t i n to t h e t e n s e p r e se n t . ' 8 8 ' s c o n c e p t a l b u m It Takes a Na tion of Millions t o Hold Us Back r e l e a s e d B o m b S q u a d e l ec t ro n i c t o n a l i t i e s t h r o u gh o u t t h e com m u n i ca t i o n s l a n d s c a p e . Min d Terroris t a n d Sho w 'em Wha tcha G o t c a g e y o u u p i n u n l oc a t a b l e syn t h - g u i t a r l o o p s , t h e e l e g i a c h o r n s o f a fi n a l s a l u te . S l ee p i s a b h o r red ; t h e a i m i s to w a k e u p i ts a u d i e n c e from t h e p o s t - B l a c k Power s l e e p , o f fa l s e c o n s c i o u s n e s s , tv a d d i c t i o n and h i s t o r i c a l m i se d u c a t i o n . T h e refore t h e p i e r c i n g b l a re o f Rebel Wi th o u t a Pa use i s a n ' a l a r m for the w o r l d ' . ' T h a t n o i s e , ' C h u c k D s a y s , ' c a m e from a j a m e s Brown gru n t . I t w a s a b l e n d o f The Grun t a n d a M i l e s D a v i s t r u m p e t w h i c h p r o d u ced a s o u n d t h a t wavered . A n d t h e n we t o o k t h a t t o n e a n d we s t r e t c h e d i t . ' Welcome to the Terrordom e i s a s o n i c wea p o n , a n o v e rk i l l d e v i c e t h a t s e n d s s a t i s fy i n g s h oc k w a v e s t h r o u g h t h e s e n s o r i u m . Coun tdo wn to A rmageddon: t h e B o m b S q u a d s o u n d r a c e s a ga i n s t c l o c k t i m e . T X R e a n i m a t o r P l a y s t h e To n e G e n e r a t o r W i t h t h e i n s tr u m e n t a l , t h e t u r n t a b l e comes i n to i ts o w n a s a t o n e genera tor. 'The d r o n e o n Termina tor X i s a backwards fire t r u c k . ' T h e t ra n s fo r m e r p o l e o f t h e m i xer b e c o m e s a n e ffec t f o r t h e t u r n t a b l e a s a s o u n d m a c h i n e . Term i na t o r X d e l ays t h e scratch i n to s t a ggered screech e s . Turn t a b i l ized t o n e s p h a s e i n t o s l o - m o texturhyt h m s , b l ocs o f u n i d e n t i fi a b l e s t a t i c m a tter. I n ' 8 8 ' s Termina tor X Speaks wi th his Hands, t h e dj ' s h a n d evolves i n to a d i s tr i b u t e d b ra i n , a terrorw r i s t w i t h i t s o w n m e m o ry. D e c e l e r a t e d a t t a c k v e l o c i t i e s s e t up a d e a t h k n e l l for l a c h ry m o s e w a h - w a h g u i t a r f r o m T h e M e t e r s ' jus t Kissed M y Baby. Inciden t a t 6 6 . 6 FM i s a r a d i o p h o n i c d u e t b e t w e e n ta l ks h o w a n d s t a t i c . S t u d i o p h o ne - i n s

07 [ 1 1 5 ] i n t e r r u p t e d by b e t w e e n s t a t i o n freq u e n c i e s , ra d i ow a v e s s t r e t c h e d i n to sustai ned g l i t c h . Sy s t e m a t i c S c h i z o p h o n y T h e B o m b S q u a d i s R . M u rr a y S c h a fe r ' s n i g h t m a re m a d e a u d i b l e . P o s tw a r s c h i z o p h o n i a - t h i s p ro l i fe r a t i o n o f n o i s e s i n c e t h e s e p a r a t i o n o f s o u n d f r o m s o u rce - i s o r c h e s t ra t e d i n t o t h e i n fo r m a t i o n e x p l o s i o n : ' R e l a te d t o s c h i z o p h re n i a , I w a n t e d [ t h e w o r d ) s c h i z o p h o n i a to c o n v e y t h e s a m e s e n s e o f a b e r ra t i o n a n d d r a m a . ' You ' re b l i tz e d o u t , i m m e r s e d i n a n e n v i ro n m e n t o f e n d l e s s e m e rg e n c y w h e r e ' t h e o v e rk i l l o f h i fi g a d g e t r y c r e a t e s a s y n t h e t i c s o u n d s c a p e i n w h i c h m a c h i n e m a d e s u b s t i t u t e s a r e p r ov i d i n g t h e o p e r a t i v e s i g n a l s d i re c t i n g m o d e r n l i fe . ' Megablast, L o u der than a Bomb, Tim ebomb, Righ tstarter: a l l t h e s e t i t l e s i n te n s i fy S c h a fe r ' s n i g h t m a r e o f h i fi g o n e o v e r k i l l . B r i n g i n g t h e n o i s e b l ow s u p t h e m i n d , b y m a i n t a i n i n g a n a m b i e n t p r e s s u r e m o r e fe l t t h a n heard. Producer Eric 'Vietnam' Sadler explained t h e i n sistent static a n d h i s s t h r o u g h o u t t h e B o m b S q u a d ' s ' 8 8 - ' 92 c o n c e p t- a l b u m c yc l e : ' T u r n i t a l l t h e w a y u p s o i t ' s t o ta l l y d i s to r t e d a n d p a n i t o v e r t o t h e r i g h t s i d e s o y o u re a l l y c a n ' t e v e n h e a r i t . P u t t h e s o u n d o n l y i n t h e r i g h t s pe a k e r a n d t u r n i t s o y o u c a n ' t b a r e l y e v e n h e a r i t - i t ' s j u s t l i ke a n o i s e i n t h e s i d e ' t h a t n e v e r l e t s u p . L i fe d u r i n g e v e r y d a y w a r t i m e , w a g e d w i t h ' k n o w l e d ge o f s e l f ' . Paranoiac Critical D evice O n P u b l i c E n e m y s l e e v e s , t h e g u n s i g h t l o g o h a s b e c o m e a g u n l i gh t , a c a l i b r a t e d h a l o i n w h i c h , s a y s V i r i l i o , ' fu n c t i o n s o f e y e s i g h t a n d w e a p o n ry m e l t i n to e a c h o t h e r . ' T h e o p t i c a l d i a gr a m o f a s s a s s i n a t i o n b e c o m e s a p a r a n o i a c c r i t i c a l d e v i c e , a n o p t o g r a m w h i c h i n te r c e p t s s i g h t . O p e ra t i o n a l S i g n a l s You ' re l i ke N e w t o n , B ow i e ' s a l i e n i n t h e fi l m The Man Who Fell to Earth, d e fe n d i n g a n d s u rr e n d e r i n g t o the a u d i o v i s u a l a t ta c k , the i n fo - e x p l o s i o n s o n h i s 1 5 tv scree n s . N ewton u s e s h i s r e m o t e - c o n t r o l v o l u m e - m i x e r t o wreck t h e p i c t u r e w i t h b u r s t s o f s t a t i c , s c r a tc h i n g tv l i ke v i n y l . The a u d i o v i s i o n i m a g e - c u r r e n t reverses d i re c t i o n a n d s t a r t s a t t a c k i n g y o u i n a l l i ts p h o s p h o r e s c e n t feroc i t y, s e i z i n g y o u r s y n a p s e s w i th i t s p h o t o n s .

07 ( 1 1 6 ] The F i n a l Tra n s m i s s i o n from The F o rever W a r : U n d e r g r o u n d Re s i stance F in a l t r a n s m is s i o n : I fo u n d it. Th e re is exis t e n ce o th e r t h a n u s . I h a ve t ra n s fo rm e d. Th e t o n e s a re t h e k e ys t o it a l l ! I ' ll b e b a c k /ltad Mike U n d ergrou n d R e s i s t a n c e ' s ' 9 2 d e b u t a l b u m s l eeve R e volution for Change cover a d a p t s Pu b l i c E n e m y ' s ' 87 d e b u t Yo ! Bum R ush the Sho w fo r t h e Tec h n o A g e . C l o a ked i n s h a d o w s , P E are c r o u c h e d a r o u n d t h e decks w a r d i n g o f f y e t b a s k i n g in i t s s o n i c r a y s . Shot from t h e t u r n t a b l e ' s p o i n t of h e a r i n g , t h e s l eeve s h o w s them in t h ra l l t o t h e d e c k s . M a sked and h o o d e d , M i ke B a n k s a n d j e ff M i l l s o f U n d e r g r o u n d R e s i s ta n c e a r e v i d eo c a p t u re d i n t h e b l ue l i g h t o f t h e v i d e o l e n s . U R a d a p t The B o m b S q u a d ' s s tr a t e g i e s o f s tea l th i n to a c o n c e p t ec h n i c s o f e l ec t r o n i c i n v i s i b i l i ty. Te c h n o logy is n o t n e u tra l . It is n o t n e u tral; i t ' s a b la c k con tin e n t Virilio and Lotringer D i s a p p e a r e d by C o n s e n s u s I n t o d a y ' s s a t e l l i te l i n k e d e r a , i t ' s w i d e l y a s s u m e d t h a t MTV i s t h e m o t o r o f m u s i c , t h a t a l l s o n i c h i s to r y t r a v e l s t h r o u g h a u d i ov i s u a l tra n s p o r t s y s t e m s . B u t t h e v e r y e x i s te n c e o f C a r l C r a i g , o f U R , o f R e d P l a n e t , o f M so o , o f D r e xc i y a , p ro v e s t h a t M TV ' s r o l e i s d r a s t i c a l l y o v e r r a t e d . Fa r f r o m t h e n a v s a t s , Tec h n o i s a s o n a r s y s t e m i n e x p l i c a b l e to c o n s e n s u a l h i s t o r i e s , and t o s c l e r o t i c a s s u m p t i o n s about B l a c k M u s i c in the US. In t h e UK and E u r o p e , Tec h n o is the t ra d i t i o n , proper Te c h n o fo r T r u e Peo p l e , g u a r a n t e e d 1 0 0 % p u r e . I t ' s a u b i q u i to u s t e c h n o l o gy t h a t c o l o n i z e s E u r o p e a n s , l i ke o x y ge n , o r t h e G ra e c o - R o m a n a l p ha be t . B u t i n t h e U S , i t ' s t h e o p p o s i t e . D e t ro i t Te c h n o i s so a b s e n t fro m A m e r i c a n p o p c u l t u r e , so c o n t r a - m e d i a , t h a t i t s l i p s from t h e sc a n n i n g s y s t e m s a l t o ge t h e r . l i ke a n A r ge n t i n e a n r e fu s e n i k , i t ' s b e e n d i s a p pe a r e d . E x c e p t t h a t i n s t e a d o f p l e a d i n g f o r i n c l u s i o n a n d i n te g r a t i o n , i t m o v e s fu r t h e r i n t o t h e d a r k . Tech n o s e c e d e s f r o m t h e l o g i c o f e m p o we r m e n t w h i c h u n d e r p i n s t h e e n t i re A m e r i c a n m e d i a s c a p e : fro m a l l t h o s e d i re c t i v e s to beco m e v i s i b l e , t o a s s u m e y o u r v o i c e , t o t e l l y o u r s t o r y .

07 [ 1 1 7 ] Sece �e f r o m the Street S i m u l t a n e o u s l y , Te c h n o s e c e d e s from t h e s t r e e t . t h e s t r e e t w h i c h i s w i d e l y assumed t o be t h e engine o f b l a c k popcu lture, t o be i t s fou n d a t i o n a n d i ts a p o t h e o s i s , i t s o r i g i n a n d i t s l i m i t . Tec h n o e m i gr a t e s from A m e r i c a , i n to w h a t fo r m e r U R p r o d u c e r R o b e r t H o o d t e r m s t h e I n te r n a l E m p i re . I n va n i s h i n g f r o m t h e s tr e e t , a n d f r o m T r a d H i p H o p ' s c o m p u l so r y l o g i c o f r e p r es e n t a t i o n a n d w i l l to rea l n e s s , U R i d e n t i fi e s n o t w i t h t h e l o w e n d b u t t h e h i g h e n d o f t e c h n o l o g y . U n d e r g ro u n d R e s i s ta n c e i s n e i t h e r l o w - t e c h n o r re s i s t a n t . U R a b a n d o n s s t r e e t k n o w l e d g e a l toge t h e r . T h e p a v e m e n t i s c r a c k e d , t h e s o i l i s p o l l u te d , t h e r o o t s a r e w i t h e r e d a n d the ground i s poisoned. This tox i c waste and this acid rain generate cond i t i o n s i n which mutant Rhythmach i n es thrive. U R rea l i enates Tec h n o , e x p o s i n g i t to t h e s e rad i o a c t i ve co n d i t i o n s , t h e o n e s t h a t t h r e a t e n a l l c r e a t i v i ty. I t t h r i v e s i n t h e z o n e s t h a t a r t t r a d i t i o n a l l y r e s i s t , t h e l o c a t i o n s t h a t k i l l o ff a l l s o u l . U R t e c h n o fi e s b y r e tu r n i n g t h e F u t u r h y t h m a c h i n e t o i ts d e a d l i e s t o r i g i n : t h e m i l i ta ry a r m a m e n t a r i u m . T h e y m o v e i n t o t h e M i l i ta ry I n d u s t r i a l C o m p l e x b e c a u s e t h e M I C p r e c e d e s a n d p r e d e t e r m i n es t h e s t r e e t . U R b r e a k w i t h t h e s t r e e t b e c a u s e t h e s t re e t i s a t t h e m e rcy o f t h e m i l i t a ry . A s p a r t o f t h e c i v i l s e c t o r , t h e s t r e e t i s a t t h e rece i v i n g e n d o f t e c h n o l ogy. I t ' s t h e d u m p i n g g ro u n d . T h e C y b e r a c t i v Wa r M a c h i n e B y i n s ta l l i n g t h e m s e l v es i n s i d e t h e m i l i t a r y , U R b e c o m e s a W a r M a c h i n e a d v a n c i n g d e c a d e s a h e a d o f A m e r i c a n m u s i c . U R ' s S o n i c F i c t i o n e m e rg e s from t h e F u t u r e a t i ts m o s t l e t h a l , i m b u i n g Tec h n o w i t h a n e n t h ra l l i n g e l e c t r i c i ty. Yes t e rd a y ' s m i l i ta ry fa c t i s t o m o rrow ' s s c i e n c e fi c t i o n . R e a l i ty a c c e l e r a t e s p a s t fi c t i o n . Cold Fusion T h e r e i s n o M C a n d n o s i n ge r i n U R . S t u d i o p r e s e n c e i s r e p l a c e d b y t h e b r o a d c a s t , t h e d a t a r e a d o u t , t h e p r e s s b r i e fi n g, t h e c o m m u n i q u e from C 3 l : C o m m a n d C o n t r o l C o m m u n i c a t i o n s I n t e l l i ge n c e . UR i s n ' t h u m a n , m o re a s i g n a l broa d c a s t from a m i l i ta ry b u n ke r , ' a p r oj e c t d e v i s e d b y s p i n d o c t o r s U R a n d T h e V i s i o n t o c o l d fu s e h u m a n D N A a n d c e l l s t ru c t u r e s w i t h c y b e rn e t i c a n d s o n i c c i rc u i t r y ; a u n i o n o f s o u n d , m a n and mach ine. ' A co u s t i c a n d s t a g e p r e s e n c e v a n i s h es i n t o i n v i s i b l e s i g n a l s s e n t

07 [ 1 1 8 ] t h ro u g h coa x i a l c a b l e s , a u d i o feed s , a n e s t o f m i c r o p h o n e s . M i ke B a n k s , j e ff M i l l s a n d R o b e r t H o o d e v a c u a te h u m a n p r e s e n c e , re p l a c i n g i t w i t h t h e t r a n s p o r t s y s t e m s t h e v o i c e t ra v e l s a l o n g t o r e a c h y o u . U R i s a s e r i e s o f s i g n a l s d i s tr i b u t e d a c r o s s t h r es h o l d s o f t h e m i x i n g c o n s o l e , t h e s t a t i o n t ra n s m i t t e r . R a z e the So u l t o the G r o u n d T h e B r i t i s h m y t h o l o gy o f T r a d Tec h n o i n s i s ts t h a t t h e v a m p i r i c B e l g i a n s a n d G e r m a n s d r a i n e d Tec h n o ' s s o u l d r y . I n f a c t , i t ' s U R t h a t s y s t e m a t i ca l l y i n d u s t r i a l i z e s Tec h n o , i n t o ' h a r d m u s i c from a h a r d c i t y ' . T h e s l e e v e a r t f o r 9 1 s X- 1 0 1 E P i s a rt w o r k f o r a n u p d a t e d A t r o c i t y ' ' E x h i b i t i o n . G re y v i d eo g r i d s o f b a b i e s , i m a g e s e x p o s e d t o x - r a y l i g h t , c a u g h t i n b r u t a l n e ws p r i n t b l a c k - a n d - w h i te . T h e m i d d l e b a b y h o l d s s k e l e t a l h a n d s t o i ts e y e s s o t h e y b u g o u t o f i ts b r a c h y c e p h a l i c h e a d . T h e fi n a l i m a g e b r e a k s u p i n t o s t a t i c , i m a ge s o f a n e a r m a g n i f i e d , a n e m b r y o invaded by patches and b l ocs o f l i gh t . A s fu n k t e r m i n a to r s a n d s o u l r a z e r s , X- 1 0 1 a n d ' 9 2 ' s Re volu tion for Change r i g i·d i fy Tec h n o u n t i l i t b e c o m e s s o n i c b r u t a l i s m , t h e c y b e ra c t i v e Wa r M a c h i n e . Te c h n o b e c o m e s a n i m m e r s i o n i n i n s u rr e c t i o n , m u s i c t o r i o t w i t h . E x a c e r b a t i n g t h e t e r r o r i z i n g i m pa c t o f B e l g i a n s y n t h e s i z e r fre q u e n c i e s i n fl i c t s a n i n s u rr e c t i o n a r y v o l t a g e . Te c h n o b e c o m e s p u n i s h i n g , a b a r b e d - w i r e w a r z o n e o f v o l t a g e e n d u red a n d i n fl i c t e d . X - 1 0 1 t r a c k s l i ke Ra ve Ne w World a n d Mindpo wer a re l i ke b e i n g s p ra y e d fu l l i n t h e fa c e w i t h C S ga s . Mindp o wer u s e s S e c o n d P h a s e ' s ' 9 2 t r a c k Men tasm {joey Bel tram Remix} to s c o u r t h e b r a i n p a n w i t h a n a s t r i n g e n c y t h a t ' s m o r e s p a s m t h a n o r ga s m . W i t h Men tasm B e l t r a m s u g g e s t s t h a t ' yo u j u s t w a n t t o b a n g y o u r h e a d a ga i n s t t h e wa l l . j u s t l i ke y o u wa n t to w i t h War Pigs or Paranoid. I l i ke t h e fee l i n g o f a good S a b b a t h r e co r d . I l i ke the m o o d it puts m e in. I ' m a big m e t a l h e a d . ' T h e Men tasm s o u n d i s A c i d t w i s t e d i n to E l e c t r o s h o c k w a v e freq u e n c i e s , l i ve c u r r e n t p h a s i n g d i re c t l y t h ro u g h y o u r b o d y ; i s a s y n a p t i c s e i z u re . U n k n ow n A s s a u l t Sys t e m F o r t h e s e tracks U R n a m e s i t s e l f X - 1 0 1 , a n unknown a u d i o assau l t s y s t e m . X - 1 0 1 i s n o t a n a l t e r e g o b u t a n a l te r m a c h i n e , w h i c h c o n n e c t s t h e X p r e f i x o f t h e f i g h t e r p l a n e w i t h t h e 1 0 1 s u ff i x o f t h e s y n t h s e r i e s . R o b e r t H o o d b e c o m e s T h e V i s i o n , t h e a n g u i s h e d a n d r o i d f r o m M a rv e l C o m i c s Ave n g e r s . The Punisher E P, n a m e d a ft e r M a rve l ' s c o n s c i e n t i o u s v i g i l a n t e , a d a p t s i ts l o g o f r o m h i s i n s i gn i a o f a s k u l l w i t h wea p o n - b e l t t e e t h . T h e

07 [ 1 1 9 ] Dea th Star E P i n s t a l l s i ts e l f i n t h e h e a r t o f t h e D a r k s i d e o f The Empire Strikes Back. Sono t r o n i c Stea l t h U R ' s t i t l e s p l u g i n t o t h e e n e rg y f l a s h e m i t t e d b y p u b l i c e n m i ty . L a u n c h e d i n b l a c k l a b e l s w i t h n o i n fo r m a t i o n , t h e E P s e m e r g e w i t h o u t w a r n i n g , a s o n o t ro n i c s t e a l t h a r s e n a l . I n ' 8 5 C y b o t r o n s u rv e y t h e s t r e e t s o f t h e Tec h n o C i ty f r o m a b o v e i t s s k y s c r a p e r s . U R a r e m o l oc h s s i n k i n g c a b l e s b e n e a t h i ts s t r e e t s , e n g i n e e r i n g i n te r n a l e x i l e , e n d l es s c u n n i ng . T h e U R c r e d o a n n o u n c e s : ' N o h o p e , n o fea r : m y o n l y h o p e i s u n d e rgro u n d . ' P l a n e t a ry C a p a b i l i ty Te c h n o s e i ze s a p l a n e t a r y c a pa b i l i ty d i a m e t r i c a l l y o p p o s e d t o T r a d H i p H o p ' s t i m i d t e r r i t o r i a l i ty . M i l i ta r i z a t i o n p u t s t h e m d e c a d e s i n a dv a n c e o f s t r e e t - f i x a t e d m u s i c s . W h i l e T r a d H i p H o p l ocks i ts e l f i n t o a l o g i c o f r e p re s e n t a t i o n a n d T r a d r o c k s h r i n k s i n t o s u p p l i c a t i o n , U R i s a n a u d i o Wa r M a c h i n e t r a n s m i t t i n g b a c k t o E a r t h from t h e ga l a c t i c , t h e M a rt i a n , t h e a q u a t i c a n d t h e d i g i t a l fron t . O p e ra t i n g Sy s t e m f o r O v e r r i d i n g t h e P r e s e n t E a c h U R r e l e a s e a r r i ves from t h e f u t u r e w h i c h y o u ' r e h e a d i n g t o w a r d s , bec o m i n g a n o p e ra t i n g s y s t e m t h a t o v e r r i d e s t h e p r e s e n t . j o n H a s se l l : ' I t w i l l b e c o m e c o n ve n i e n t t o r e d r a w t h e m a p a c c o r d i n g t o w h o w a n t s t o l i v e i n w h i c h e r a . W e c o u l d h a v e w a r s b e t w e e n t h e 1 5t h C e n t u ry a n d t h e 2 1 s t C e n t u ry . ' The C o v e r t D i m e n s i o n F r o m a rc a d e g a m e s t o t h e N e t t o s i m u l a t i o n g a m e s , c i v i l s o c i e t y i s t h e l o w e n d r e s e a rc h - a n d - d e ve l op m e n t u n i t o f t h e m i l i t a r y . Te c h n o h a s t h e n o m a d ' s e d g e o v e r H i p H o p ' s h y p e rv i s i b l e t r o o p e r fo r e v e r c r u c i fi e d i n t h e cro s s h a i rs o f t h e g u n s i g h t . I t o p e r a t e s i n t h e c o v e r t d i m e n s i o n t h a t U R a l l i e s S c a n 7 t e r m t h e ' u n d e te c t i b l e ' . I n v i s i b i l i ty d r a w s y o u i n t o S u b u r b a n K n i g h t ' s ' 94 Min d o f a Pan ther. N o w ' y o u c a n h e a r h i m , b u t y o u c a n ' t s e e h i m . You d o n ' t k n o w w h e r e h e i s . H e ' s d e a d l y . Yo u d o n ' t k n o w w h e r e h e ' s g o i n g t o c o m e fro m . '

07[ 1 20 ] Te c h n o i s like A I D S . I t 's s e l f l e a rn i n g . I t ' s h ig h ly in t e llig e n t Nilce Banks U ndetectible To n a l c o m m u n i ca t i o n d o e s n ' t d e l e t e p s y c h i c s e n s a t i o n s o f revo l u t i o n a n d s e c e s s i o n , i t d e r e a l i z e s t h e m . M i ke B a n k s : ' T h e r e a r e d e fi n i t e m e s s a ge s t h e r e t h ro u g h t o n a l c o m m u n i c a t i o n a n d y o u c a n ' t a s s e s s t h e m , t h a t ' s w h y Tec h n o i s d e a d l i e r t h a n ra p . ' B y d e p r o p r i a t i n g t h e l i s t e n e r f r o m s y n t a x , Te c h n o b r o a d c a s t s f r o m t h e fa r s i d e o f s e n s e . I t m o v e s i n t o a l og i c a l p o s s i b i l i ty s p a c e s : t h e c o v e r t o p e r a t i o n s o f d r u m c o d e s , t h e s y n t h e s i s o f u n kn o w n s e n s a t i o n s , t h e m o d u l a t i o n o f freq u e n t e m o t i o n s . ' We ' re s i l e n t a n d d e a d l y a n d t h a t ' s t h e b e s t w a y . W i t h r a p y o u h a v e t o voc a l l y co m m u n i ca te y o u r p o i n t b u t w i t h Te c h n o y o u d o n ' t . ' Te c h n o i s c o v e r t , u n d e t e c t i b l e to a n y o n e n o t l o c k e d i n t o t h e m u s i c ' s c o n c e p t ec h n i c s . B u t t h e Te c h n o fa n a t i c d o e s n ' t c r a c k t h e e l ec t r o n i c c o d e s . I n s t e a d , s / h e e n j o y s b e i n g b a ffl e d , c r a v e s t h e o n s e t o f c o n fus i o n t h r o u g h d e p r o p r i a t i o n . I n s t e a d o f c l a r i fy i n g t h i s m y s t i f i c a t i o n , t h e y p a s s i t o n . l i s t e n t o t h i s : Yo u a r e p a rt i c i p a t i n g i n a m y s t e r y . P l a y t h e t r a c k . Tra n s m i t t h e t o n e s . B e c o m e i m p e r c e p t i b l e . M i d n i g h t S u n s h i n e c l oa k s t h e p l a n e t . E l e c t ro n i c m u t a t i o n fu n c t i o n s t h i s w a y , t h r o u g h t h i s p r o c e s s w h i c h M c l u h a n t e r m s ' p a r t i c i p a t i o n m ys t i q u e ' . Te c h n o b e c o m e s ' a s o r t o f b a r r i c a d e b e h i n d w h i c h [ t h e e n e m y ) b e c o m e s i n v i s i b l e . ' j e a n B a u d r i l l a rd c l i c ks o n s h i ft : ' H e a l s o b e c o m e s " s t e a l th y " a n d h i s c a p a c i t y f o r res i s t a n c e b e c o m e s i nd e t e rm i n a b l e . ' U n d e te c t i b i l i ty i s p o w e r . I t a l l o ws t h e Tec h n o p r o d u c e r to b e c o m e w h a t The Vision • • R o b e r t H o o d t e r m s t h e S p e c t r a l N o m a d , w h o s t a l ks t h e c o v e r t d i me n s i o n , w h o v a n i s h e s i n t o y o u r s l ee p . Va n i s h i n Yo u r S l e e p Fa r from p l ea d i n g t o p a s s t h r o u g h t h e p a s s p o r t c o n t r o l s o f Billb oard, Tec h n o g r a s p s t h e c h a n c e to r e c e d e from t h e v i s i b l e . To l i s t e n t o U n d e rg r o u n d R e s i s t a n c e i s t o h a v e y o u r v i s i o n d e l e t e d , p l u n g i n g y o u i n to m i d n i g h t s u n s h i n e . N o t h i n g t o s e e , s o m u c h t o fee l . N i gh t v i s i o n awakens new senses. W h e r e Welcome t o th e Terrordome b e c o m e s a n a u d i ob o m b , S u b u r b a n K n i g h t ' s ' 9 4 Dark En ergy d o u b l e E P b e c o m e s a s o n i c s t r i k e . T h e l a b e l c o m m u n i q u e a n n o u n c e s ' 6 d a r k e n e rg y w a v e s ' t h a t ' e n gu l f t h e e a r t h i n u l tra v i o l e t m i d n i gh t s u n s h i n e . ' V i s u a l i s t F ra n k i e C . F u l i tz ' s l a b e l s c a p e

07 ( 1 2 1 ) s h o w s a n Ato m i c A fr i c a r a d i a t i n g a r e d f i e l d o f d a r k e n e r g y . T h e U R l o g o i s l s l a m a t o m i c : i t c o m b i n e s a p y ra m i d w i t h a n a t o m i c p o w e r s y m b o l a t i t s g l o w i n g a pe x a n d a n I s l a m i c c r e s c e n t to i t s l e ft . So n i c F i c t i o n I s a S u bj e c t i v i ty E n g i n e I n U R , a c o n s ta n t l y p ro l i fe ra t i n g s e r i e s o f s o n i c s c e n a r i o s t a k e t h e p l a c e o f lyrics. Sonic Fictions, PhonoFictions generate a la ndscape exten d i n g o u t i n to p o s s i b i l i ty s p a c e . T h e s e g i ve t h e o v e r w h e l m i n g i m p r es s i o n t h a t t h e r e c o r d i s a n o bj ec t from t h e w o r l d i t r e l e a s e s . Th i s i n t e r f a c e between Sonic Fiction a n d track, between concept a n d m u s i c , i s n ' t one o f f i c t i o n v s r e a l i ty o r t r u t h v s fa l s i ty . S o n i c F i c t i o n i s t h e p a c ka g i n g w h i c h w o r k s by s e n s a t i o n t ra n s fe r e n c e f r o m o u t s i d e to i n s i d e . T h e fro n t s l e e v e , t h e b a c k s l e e v e , t h e g a t e fo l d , t h e i n s i d e o f t h e g a t e fo l d , t h e r e c o r d s l e e v e i t s e l f, t h e l a b e l , t h e c d cover, S l e e v e n o t e s , t h e c d i t s e l f; a l l t h e s e a r e s u r f a c e s for c o n c e p t s , t e x t u re - p l a t fo r m s f o r P h o n o F i c t i o n s . C o n c e p t fe e d s b a c k i n to s e n s a t i o n , a c t i n g a s a s u bj ec t i v i ty e n g i n e , a m a c h i n e o f s u bj ec t i v i ty t h a t p e o p l e s t h e w o r l d w i t h a u d i o h a l l u c i n a t i o n s . Pa r l i a m e n t p o p u l a t e s t h e wo r l d w i t h c a r t o o n u n i ve r s e s ; S u n R a s e e d s t h e w or l d w i t h c o m p o s i t i o n p l a n e t s . S c i e n t i s t r e p ro g r a m s t h e p o s i t i o n i n g o f s a t e l l i te s , s e t t i n g a l l chronosystems t o warptime. S o n i c O bj e c t S h a p e U R ' s l a b e l c o m m u n i q u e s a n d r u n o u t - g r o o v e m e s s a ge s g e n e r a t e t h e m u s i c a s e p i s o d e s from a n o n g o i n g b a t t l e , a F o r e v e r W a r a ga i n s t t h e p r o g r a m m e r s . I n c o n c e p t l i ke Pa r l i a m e n t b u t a u d i o v i s u a l l y t h e i r a n t i th e s i s , U R a i m s f o r ' t h e d e p ro g r a m m i n g o f t h e p r o g r a m m e d m i n d ' . E a c h U R 1 2 i s a U A O from t h e i r s o u n d w o r l d , a s o n i c w e a p o n , a s o u n d c r a ft t h a t ' s fa l l e n o u t o f t h e i r w o r l d i n t o y o u r s . B y l i n k i n g r e l e a s e - p r o d u c t i o n d a t e s to a s s a u l t - l a u n c h d a t e s y o u f e e l a s i f y o u ' r e a t a r g e t . T h e r e c o r d t a k e s t h e s o n i c o bj e c t s h a p e o f t h e w e a p o n u s e d i n t h e l a u n c h . E a c h 1 2 i s t h e l a te s t i ns t a l m e n t i n a n a g e - o l d b a t t l e w i t h t h e progra m m e r s . O n c e y o u ' v e b o u g h t i t , y o u ' v e w i l l i n g l y i n d u c t e d y o u rs e l f i n t o T h e F o r e v e r W a r .

07 [ 1 2 2 ) U R the Flight Path T h e l a u n c h a n d j o u r n e y o f t h e Cyberwolf E P i s t h e r o u t e o f t h e U R 1 2 through y o u and onwards. T h e E P t i t l e catalyses a UAO, a virtual h u n te r s e e k e r m i s s i l e . B u y i n g t h e U R 1 2 i n d u c t s y o u i n t o a l i n e o f fl i g h t , fro m D e t ro i t t o t h e r e c o r d s h o p t o y o u rs e l f to a m i x t a p e a n d o n . The Vinyl M a nifesto S o u n d a n d S o n i c F i c t i o n fe ed fo r w a r d i n t o e a c h o t h e r , o p e n i n g u p n e w p o s s i b i l i t y s p a c e s l i ke t h e P l a n e ta r y M a n i fe s t o o f ' 9 2 ' s W o r l d P o w e r A l l i a n c e , i n s c r i b e d o n t h e u n m a s te r e d B s i d e o f The Kamikaze E P a s W PA b a c k i n g p l a t e 1 1 : 'The W o r l d P o w e r A l l i a n ce w a s fo r m e d s o m ew h e re i n D e t ro i t , M i c h i g a n , U S A o n M a y 2 2 , 1 9 92 a t 4 . 2 8 p m b y v a r i o u s e l em e n t s o f t h e Wo r l d s U n d ergro u n d L e g i o n s . T h e A l l i a n ce i s d e d i c a t e d t o t h e a d v a n c e m e n t o f t h e h u m a n r a c e by s o n i c e x p e r i m e n t a t i o n . ' T h e Wo r l d P o w e r A l l i a n c e w a s d e s i gn e d to b r i n g t h e Wo r l d ' s m i n d s toge t h e r t o c o m b a t t h e m e d i o c r e a u d i o a n d v i s u a l progra m m i n g b e i n g fed t o t h e i n h a b i ta n t s o f E a r t h , t h i s p r o g r a m m i ng i s s t a gn a t i n g t h e m i n d s o f the people building a wa l l between races. This w a l l must be d e s t r o y e d , a n d i t w i l l fa l l . B y u s i n g t h e u n t a p p e d e n e rgy p o t e n t i a l o f s o u n d , t h e W PA w i l l s m a s h t h i s w a l l m u c h t h e s a m e a s c e r t a i n freq u e n c i e s s h a t t e r g l a s s . B r o t h e r s o f t h e u n d e r g ro u n d t ra n s m i t y o u r t o n e s a n d fre q u e n c i e s f r o m a l l l o c a t i o n s o f t h i s w o r l d . W r e a k h a v o c o n the programmers ! ' U R ' s World Po wer A lliance e x p a n d s o n P u b l i c E n e m y ' s Fear of a Black Pla n e r, re p l a c i n g p l a n e t a r y n a t i on a l i s m w i t h a s o n i c g l o b a l i s m . B a c k i n t h e 7 0 s a n d 8 o s , a u d i o s o c i a l v a n g u a r d s b e t everyt h i n g o n v i s i b i l i ty, i d e n t i fi ca t i o n , p u b l i c e n m i ty. But in the Te c h n o e r a , ' D i s a p p e a r a n c e is o u r fu t u re . ' Tec h n o l ogy c h a n g e s t h e form o f p o w e r , t h e n a t u re o f i d e n t i ty, t h e e s s e n c e o f t h e e n e m y. V i r i l i o fa x e s E a r t h : ' Every v i s i b l e p o w e r i s t h r e a te n ed . ' I n t h e A c o u s m a t i c Age, U R ' s B l a c k P o w e r i s t h e r e fo r e u n d e t ec t i b l e , n o t i d e n t i fi a b l e , i n v i s i b l e n o t recogn i z a b l e , s t e a l t h y n o t p u b l i c . L i ke t h e c a m o u fl a g e n i nj a s o f Wu Ta n g C l a n p r o t e g e s K i l l a r my, s t e a l t h and u n de t e ct i b i l i ty a r e q u i e t w e a p o n s fo r use in s i l e n t w a r s . T h e La b e l F i c t i o n T h e l a b e l f i c t i o n o f S c a n 7 ' s Un detectible E P t h e refore e x t e n d s s t r a t e g i e s of stea l t h into covert o p s , d i g i t a l terror i s m . The Programmers use a C e n t ra l B r o a d c a s t Fac i l i t y to t e l e c a s t t h e i r ' m i n d c o n t r o l b e a m ' a c r o s s t h e wo r l d . T h e C e n t r a l B r o a d c a s t Fac i l i t y u s e s c o m p u t e r m a i n fr a m e a n d

07[ 1 2 3 ] p o w e r fu l c h i p s . Tra c k m a s t e r L o u o f O R- a ffi l i a t e s S c a n 7 h a s 2 j o b s : t o i n f i l t r a t e t h e C B F, a n d s t o p t h e b e a m t e l e c a s t i n g , t h e n t o p u t i n t h e U R c h i p . T h i s c h i p d e v e l o p e d i n D e t ro i t b y M e t r o p l e x e n g i n e e r s ' i s a C P U p l a t fo r m c h i p ' ca l l ed ' E l ec t r o 3 1 3 2 0 3 o U R o n ' . Machine Mythologies I n a s e r i e s o f o v er l a p p i n g m a c h i n e m y t h o l o g i e s , t h e Unde tectible E P d r a ft s M o d e l 5 o o ' s M e t ro p l ex l a b e l i n t o t h e a s s a u l t , a s a r e s e a r c h l a b for n e w d i gi t a l a p p l i ca t i o n s . T h e c h i p uses E l ec t r o a s a c o d e n a m e , i t s n u m be r s t h e m o d e l s o f R o l a n d s y n t h e s i z e r s , s y n t h s m i g ra t i n g a c r o s s s f a s d i g i t a l w e a p o n s . T h e e ffect o f t h e E l ec t r o c h i p i s t o ' i n d u c e v i ru s e s a n d b a s s freq u e n c i e s ' w h i c h a r e ' d e s i g n e d t o d e s t r o y p r o g r a m m e r c h i p s i n b r o a d ca s t fa c i l i t i e s w o r l d w i d e ' . I n D i g i ta l War, t h e a i m i s to r e p l a c e p r o g r a m m e r c h i p s , t o d e s t r o y freq u e n c i e s a n d t h e r e fo r e to d e s t ro y p r o g r a m m e rs t e l e c a s t s a n d m i n d ­ c o n t r o l b ea m s . I t ' s a m i s s i o n t o i n fi l t r a t e a s i n g l e l o ca t i o n , b u t t h e i m p ac t i s w o r l d w i d e . T h e u n i ts a r e ' d i g i t i ze d a n d r e t u r n e d b a c k t o D e t r o i t v i a t h e I n te r n e t s o m e t i m e i n e a r l y A p r i l u n d e t e c t e d ' . P r o s p e c t i v e tense conveys the urgent message. Orig i n U n known Tec h n o l i ves i n t h e w o r l d o f H i p H o p b u t H i p H o p d o e s n ' t l i v e i n t h e w o r l d o f Tec h n o . S o u n d m a c h i n es d e c o u p l e s o u n d f r o m s o u rc e , t o d e r e a l i z e t h e s o n i c f r o m i t s o r i g i n . O r i g i n U n k n o w n r e fe r s t o t o d a y ' s p e r v a s i ve a c o u s m a t i c c o n d i t i o n , a n e r a i n w h i c h y o u c a n ' t te l l w h o ' s p l a y i n g , w h e n y o u g u e s s t h e o r i g i n a n d y o u ' r e w r o n g . G o l d i e : 'Te c h n o l ogy t a ke s t h e c o l o u r o u t o f m u s i c . I t ' s m a d e t h e m u s i c t ra n s p a re n t . ' M i ke B a n ks o f U R t h o u g h t 4 H e ro w e r e w h i t e . K ev i n S a u n d e r s o n t h o u g h t U R w e r e w h i te . N o b o d y e s c a p e s t h e w a y m a c h i n e s s c ra m b l e i d e n t i ty a t t h e p u s h o f a b u t t o n , t u r n s t h e s o u l i n to s o u n d - fx w i t h t h e g r e a t e s t o f e a s e . I n s t e a d o f r e t re a t i n g from m a c h i n i c m u t a t i o n b a c k i n to a n e t h i cs o f s o u n d , U R i s m u t a t i o n - p o s i t i v e . T h e s a m p l e r i s a m a n d a t e t o r e co m b i n a t e - s o i t ' s u s e l e s s l a m e n t i n g a p p ro p r i a t i o n . R e s i s t i n g r e p l i c a t i o n i s l i ke d o i n g w i th o u t o x y ge n . T h e s a m p l e r d o es n ' t c a r e w h o y o u a r e .

07[ 1 24 ] T h e S o u n d < > Vi s i o n S c h i z m a t i c To d a y, a l i e n a t t i t u d e t o t h e R h y t h m a c h i n e o v e r r i d e s t h e a c o u s t i c s e l f. T h e r e fo r e t h e m o d e r n p r o d u c e r m o d e l s a s e r i e s o f s y n t h e t i c s e l v e s , e x a c e r ba t i n g a c o n f u s i o n i n w h i c h i t ' s i m p o s s i b l e t o te l l w h o ' s synthesizing the track. juan Atki ns named himself Model 500 because the n a m e ' r e p u d i a te d a n y e t h n i c d e s i g n a t i o n ' . C y b o r g i n g y o u rs e l f v o l a t i z e s [ r ) e a r v i e w h e a r i n g , g e n e r a tes a p e r ce p t u a l v a c u u m w h i c h i n t i m i d a t e s e x p e c t a t i o n a n d r e p e l s d e s i g n a t i o n . B y e m i t t i n g a force f i e l d o f u n d e t e c t i b i l i ty , i t e v a d e s c a p t u r e from t h e Tu r i n g i d e n t i c o p s s t a t i o n e d i n your head. I t obsol esces the scanning systems that monitor the B lack A t l a n t i c . M a c h i n e M u s i c o p e r a t e s t h ro u g h G o e t h e ' s e l ec t i v e a ffi n i t i e s , n o t t h r o u g h s u b c u l t u r a l a l l eg i a n c e i n r e a l - t i m e . T h e e n g i n e e r g o e s t o w a r o v e r a b r e a k n o t a c o u n try. I n t h e A c o u s m a t i c A g e t h e re ' s n o t h i n g to s e e e x c e p t t h e s o u n d i n i ts n o n - s e l f. T h e s o u n d < > V i s i o n s c h i z m a t i c i s o u t o f c o n t ro l . E s c a p e t h r o u g h t h e r a d a r . T h e M i l i t a ry A r r i v e s f r o m t h e F u t u re A s N i c k L a n d a r g u e s , it m a y be u s e fu l to s i m u l a t e t h e p o l i c e m a n ' s p e r s p e c t i v e e v e r y n o w a n d t h e n . R e ve l a t i o n s a b o u t rea l - l i fe X Files r e m o t e v i e w i n g s u gg e s t t h a t s c i e n ce f i c t i o n h a s a l wa y s b e e n t h e b l u e p r i n t f o r n e w m i l i ta ry c a p a b i l i ty . T h e c o n t i n u u m b e t w e e n fi c t i o n a n d fa c t h a s i m p l od e d i n to a fo l d i n t i m e . To d a y ' s s c i fi w a s y e s t e rd a y ' s m i l i t a ry fa c t . E a c h E P t r a c k t i t l e announces a n audio-ass a u l t system, a UAO, the Chemical Brothers' term E l ec t ro n i c B a t t l e W e a p o n s w h i c h c o l l a p s e s t h e b o r d e r b e t w e e n S o n i c F i c t i o n a n d m i l i ta ry w e a p o n s , b e t w e e n f u t u r e a n d p r e s e n t : t h e Piranha, the Cyb erwolf, the Seawolf F a t a l E n e rg y E v e ry o n e n o w k n o w s t h a t b a d o good, that i l l = better and t h a t sick o b e s t . W i t h U R t h i s r h y t h m i c r e v e r s a l is o p t i m i z e d a c r o s s t h e s o n i c d i s co n t i n u u m . T h e m o r e l e t h a l t h e e n e rgy, t h e m o r e s e n s u a l t h e i m p a c t . Z a p p ' s e l e c t r i c b o l t s , C o l t r a n e ' s t r a n e so n i c e n e rgy fi e l d s , B e l t r a m ' s e n e rgy f l a s h , K r a ft w e r k ' s Powe r p l a n t , U l t r a m a g n e t i c M C s ' h y p o ga l a c t i c r a d i a t i o n , Pa r l i a m e n t ' s B i g B a n g , D r e x c i y a ' s i n t e n s i fi e d m a g n e t r o n , S c i e n t i s t ' s p u l s a r s , S u b u r b a n K n i g h t ' s D a r k E n e r g y fi e l d s : a l l t h e s e s o n o t ro n i c f o r c e s r e l e a s e a fa t a l e n ergy t h a t f l o o d s y o u i n s e n s a t i o n . I n t h e M a rv e l , D C , V e r t i g o a n d I m a ge m u l t i v e r s e s , r a d i a t i o n d o es n ' t f a t a l l y c r i p p l e y o u , i t m u ta t e s y o u b e t t e r t h a n b e fo r e . M a c h i n e m u s i c s w i t c h e s

07[ 1 2 5 ] t h e p o l e s i n t h e s a m e way. W h a t doesn't k i l l y o u m akes y o u s tronger. Th e F u t u r h yt h m a c h i n e d u n k s y o u i n H A Z C H E M , p ro t e c t s y o u b y e x p o s i n g y o u , a cc l i m a t i z i n g y o u t o a n n i h i l a t i o n . I n v e n tiC? n s , t h e cre a tio n s o f s c ie n tis t s , a r e riddle s wh ich exp a n d t h e fie l d o f t h e u n k n own Paul Virilio SuperFict i o n a l Science Sonic science takes a shortcut through com i c s . Comics a n d science f i c t i o n t o g e t h e r fo r m a c o n c e p t u a l c y c l o t ro n i n w h i c h T r a d s c i e n c e i s a c c e l e ra t e d i n t o a n a r r a y o f S u p e r f i c t i o n a l S c i e n c e s . B y d i s s o l v i n g t h e d i s t i n c t i o n s b e t w e e n s c i e n c e s , P h o n o f i c t i o n m i n e s a l l fi e l d s f o r t h e i r mutation capab i l ities. T h e S o n i c F i c t i o n o f Biosensors i n Tunnel Complex A frica, from U R ' s ' 9 6 Electronic Warfare: Designs for Sonic R e volutions d o u b l e E P, i m m e d i a te l y o p e n s a n e w fro n t w h e r e m i l i ta r y t e c h - t h e l o g i c b o m b - i s p a r t o f t h e s a m e a r s e n a l a s t h e f i ct i o n a l d e v i c e , t h e H o C h i M i n h c h i p , t h e f i b e ro p t i c c o m m a n d o w h o i n f i l t r a t e s fi b e ro p t i c c a b l e s . U R ' s M y t h S c i e n c e o p e n s u p a new d i s c o n t i n u u m a c r o s s s c i e nce a n d a r t , s o u n d a n d f i c t i o n . An e l e c t ro n ic in s t ru m e n t b e c o m e s a n e x t e n s io n o f a s e n s i tive b io l o g ic a l sys t e m Robert Moog Se n s u a l i z a t i o n of E l e c t r i c i t y Th i s i s n o t o n l y t h e m i l i t a r i z a t i o n o f p o p l i fe . E v e n m o r e i t ' s t h e m y t h i fi c a t i o n o f t h e m i l i ta ry, t h e f i c t i o n a l i z i n g o f freq u e n c i e s , t h e s e n s u a l i z a t i o n o f e l e c t r i c i ty. T h e p r o d u c e r h a s a n B o B s t a t e o f m i n d w h i c h a l l ow s a ' pe r s o n a l e l ec t ro n i c re l a t i o n s h i p w i t h a l l m y i n s t r u m e n t s . ' C o s I h a v e e l e c t r i c i ty i n m y b o d y t o o . W h e n w e t o u c h t h e y reco g n i z e m e a n d I r e c og n i z e t h e m . I t h i n k Termina tor i s d e fi n i te l y what's happening, m a n . Machines have emotions. They c a n become i n te l l i g e n t a n d t h e y w i l l o n e d a y . '

07[ 1 2 6 ) Th e syn t h e s iz e r i s a n a c o u s tic m irro r, a brain e le m e n t t h a t i s s up e rs e n s i tive to t h e h um a n e le m e n t Kroftwerk So u n d m a c h i n e sym b i o s i s U n d er g ro u n d R e s i s ta n ce i s n o t a g r o u p b u t t h e s y m b i o s i s o f t h e s o u n d m a c h i n e w i t h p r o d u c e r M i ke B a n k s . T h e p r o d u c e r i s c a u g h t u p i n m a c h i n em u t a t i o n , p l a y e d b y t h e m a c h i n e r y h e p l a y s . U R i s a R o l a n d s y m b i o n t t h a t u s e s 3 0 3 s t o h ea l , t h a t i nv e s t i g a t e s s y n t h e t i c s o u n d a s a l i fe fo r m . S u n Ra s t a t e s t h a t c o s m i c t o n e s c o u l d be m e n ta l l y t h e r a p e u t i c . I n t h e 9 0 s , Tec h n o i s m e d i c a t i o n . B a n k s h e a r s fo rwa r d s to a n e r a i n w h i c h ' Te c h n o w i l l b e m e d i c i n e . W e s t e r n m e d i c i n e l o o k s a t t h a t a s b u l l s h i t . Y o u c a n ' t f i x s o m e b o d y from s i n g i n g a fu c k i n ' s o n g . T h a t s o n g c a r r i e s a n e m o t i o n t h r o u g h t o n a l c o m m u n i c a t i o n . I f t h a t p e r s o n fe e l s t h a t c o m m u n i c a t i o n , i t m i g h t t r i gger s o m e t h i n g i n h i m t h a t w i l l rep a i r w h a tever t h e fuck i s wro n g w i t h h i m . ' Th o u g h t f o r m s i n t h e m o u t h Tris t:on Tzoro The S u b l i m e B a t h e s in S a l i v a T h e p l ea s u r e o f t h e c os m i c c o n c e p t - H a n c o c k ' s ' 7 2 Quasar, U R ' s ' 9 3 G a laxy 2 Galaxy d o u b l e 1 2 E P, A l i ce C o l t ra n e ' s ' 7 2 World Galaxy - i s g ra t i fy i n g l y o ra l . ' Q u a ' p u l l s b a c k t h e l i ps w h i l e ' s a r ' w i n c h e s t h e m o u t h o p e n . T h e G i n ' G a l a x ' p u l l s t h e b a c k o f t h e t h r o a t t o g e t h e r i n a to n s u l a r k i s s , a n d t h e ' l a x ' d e m a n d s p r e s s u p s from t h e t o n g u e , fo rc i n g y o u r m u s c l e s to fl i p fl o p fro m t h e r o o f to t h e fl o o r o f t h e m o u t h . W i d e n i n g t h e j a w m u s c l e s i n d u c e s a n a w e i n t h e fac e . T h e s y l l a b l e s ' q u a ' , ' s a r ' , ' G a l a x ' a n d ' Wo r t ' d e m a n d a l a b i l e e x e r t i o n w h i c h r e l e a s e s s a t i s fy i n g s t r e a m s o f s p i t t h r o u g h o u t t h e m o u t h . T h e n a m e D r e x c i y a i s a n a d v e n t u r e fo r t h e t o n g u e . Yo u h o l d a geogr a p h y i n y o u r m o u t h . ' D re x ' : t h e t o n g u e d e s c e n d s a s t a i r c a s e , a s c e n d s o n ' c i ' , s k i p s o n ' ya ' . T h e s u b l i m e t a s t e s g o o d to s p e a k .

07[ 1 27 ] Syn t he t i c F u s i o n H i -Te c h j a zz from ' 9 3 ' s Galaxy 2 Galaxy E P i s fu s i o n m a d e s y n t h e t i c . T h e 2 p a r t s - t h e f i r s t s u b t i t l e d Th e Science, t h e s e c o n d The Elem en ts ­ suggest that the music i s the product of a n el emen tary science. Ta p p i n g i n to a t o m i c p r o c e s s e s i m b u e s j a z z w i t h a c o l o s s a l e n e r g y . S y n t h e s i z e d b a s s a n d k i c k s c h a rge a t y o u w i t h a n i n e x o r a b l e h o r s e p o w e r , t h e o n c o m i n g i m p a c t o f G a l a c t u s c r o s s i n g co n s te l l a t i o n s . V a u l t i n g a s t r a l k e y b o a r d s w r a p y o u i n t h e a r m s o f A n d ro m e d a , s p o n g i n g y o u i n s u s s u ra t i o n , c r a d l i n g y o u i n a s q u e ez e b o x s e e s a w w h i c h l u l l s a n d p u s h es i n t o a b u o y a n t fe a r l e s s n e s s . W i t h s t a rs for h a n d h o l d s , y o u c l i m b t h e s k i e s i n a 9 m i n 3 5 s e c w a r w i t h y o u r s e l f. 'Tec h n o t o m e i s t h e o n e m u s i c t h a t i s t ru l y a g l o b a l m u s i c . I t m i g h t n o t o n l y be a g l o b a l m u s i c . I t h i n k it's a galactic music. ' T h e d o u b l e E P fo r m s a n u n fi n i s h e d C o n c e p t C y c l e b e g i n n i n g w i t h ' 9 2 ' s Na tion 2 Na tion, ' 9 3 ' s World 2 World a n d Galaxy 2 Galaxy, e n d i n g w i t h t h e u n re l e a s e d Uni verse 2 Uni verse. I n World 2 World' s jup i ter jazz, t h e c h o r a l t o n e s t r a d i t i o n a l l y u s e d as m e l o d i c r e v e r b e r a t i o n a n d b l e s s e d h a z e a r e s h a r p e n e d u n t i l t h e y s t r i ke l i ke s t a l a c t i t e s fa s h i o n e d from i n s p i r a t i o n . Chord p rogre s s i o n s a r e r e p l a c e d b y a r c h a n g e l i c a t t a c k i m p u l s e s , o c t a v e j u m p c u t s t h a t i n d u c e r a p t u ro u s h e a r t a t t a c k . C l o u d gra z i n g s k y t o n e s fi l l y o u w i t h s e n s a t i o n s o f a s ce n s i o n , w i t h w a r m s u rges o f b a s s w h i c h r i s e u p t h r o u gh y o u i n p a n i c e l a t i o n . The 12's label shows the golden rays of a Renaissance sun, orbiting a r o u n d t h e d e c k s p i n d l e i n h e l i o c e n t ro n i c revo l u t i o n s . jup i ter jazz' s t i t l e c o m b i n e s j a zz s y n t h e s i ze d o n j u p i te r k e y b o a r d s w i t h j a zz p l a y e d b y j u p i te r t h e j oy b r i n g e r : fea t u r i n g Z e u s o n s y n t h e s i z e r ! C i rc u m s o l a r R e v o l u t i o n Across t h e grooves t h e s t y l u s rides t h e expressway t o y o u r skul l . I n the post-'92 col l a borative series o f Red Planet EPs, produced by U R a s The M a r t i a n , e a c h E P a r r i v e s i n a s i g n a l - r e d s l eeve t h a t t h rows t h e b l a c k l a b e l i n to r e l i e f . A r o u n d t h e p e r i m e t e r o f t h e l a b e l , r e d l e t t e r i n g r ea d s : T H E R E D P LA N ET W i l l A P P E A R O N LY W H E N YO U R M I N D I S O P E N . I n t h e r i g h t o f t h e l a b e l i s a r e d d i s c , i t s l e ft s i d e b i s e c t i n g t h e i n d en t e d c i r c l e t h a t s u r r o u n d s t h e s p i n d l e s p a c e . A r o u n d t h e s p i n d l e h o l e i s a r e d r i n g t h a t c u t s i n to t h e r e d d i s c . O n t h e d e c k s , t h e e ffec t i s a s yzygy i n revo l u t i o n , a m o o n i n a l i g n m e n t w i t h a red p l a n e t s u r r o u n d e d b y a b l a c k v o i d , e n c i rc l e d a ga i n b y v a s t e x p a n s e o f v i n y l .

07[ 1 2 8 ] Te r r a f o r m e r s a t 8 0 8 • K e l v i n Freq u e n c i e s a r e fi c t i o n a l i z e d i n t o o f fw o r l d d e s e r t s , e n v i r o n m e n t a l i z e d i n t o t h e c a p s u l e e x o g e o g r a p h i e s o f t r a c k t i t l e s fro m t h e R e d P l a n e t E P s 1 - 8 : Th e Long Win ter o f Mars, Season o f th e Solar Wind, Base Sta tion 303, Marisian Probes o ver Mon tan a , jo urney to th e Martian Polar Cap, Bo B " [Surface Temp era ture Mix/. The r a s p i n g , c a u s t i c o v e r t o n e s o f f i l t r a t i o n a n d twea k i n g generates a c i d ra i n . I n the m a c h i n e meteorology o f t h e R e d P l a n e t s e r i e s , h o t freq u e n c i e s m e t a b o l i z e e x t r e m e t e m p e r a t u r e s . T h e R e d P l a n e t s e r i e s u s e s R o l a n d s a s t e r r a fo r m i n g m a c h i n e s f o r M a r t i a n a r t fo r m s . I t s y n t h e s i ze s eco l o g i e s from w a v e fo r m s . I n A d v a n c e o f t h e La n d i n g T h e R e d P l a n e t s e r i e s a s s e m b l es a M a r t i a n m y t h o l ogy o f A s t r a l " I n d i a n t e c h - m a g i c i a n s : Renegades o n the Red Pla n e t, A s tral Apache, S tardancer, Ghos tdancer, Starchild, Win dwa lker, Skypain ter, Firekeeper. O n Stardancer f r o m R e d Plan e t 2, g u i t a r a n d s y n t h s a r e p r o c e s s e d i n t o a n u n p l a ce a b l e i r i d es c e n c e . S y n t h e t i c b a s s d r o p s l i ke a c o n c r e t e b a s k e t b a l l , d r a g g i n g y o u r feet l i ke t ra c t i o n . A t t a c k v e l o c i t i e s f i r e l i ke c a t h e r i n e w h e e l s i n a d u e t w i t h h i h a t c l a p . C h i m i n g t ra i l s s l ow l y c i r c l e , l i q u e f i e d c o m e t s w h i c h s t r e a m t h r o u g h y o u u n t i l y o u ' r e b u r s t i n g w i t h a s ce n s i o n . S y n t h s s u rge i n m a r i n e b a s s a n d s i m u l ta n e o u s l y s h o o t s t a r s a c r o s s t h e s ky, e r u p t i n g i n e x u l t a t i o n . T h e M a r t i a n s y n t h e s i z e s a co s m i c d i s c o t h a t c o l o n i z e s M a r s i n a d v a n c e o f t h e l a n d i n g , ' s o t h a t i f w e c o m e i n t o c o n t a c t w i t h i n te l l i g e n t l i fe fo r m s fro m a n o t h e r p l a n e t w e c a n t a l k o n t h e s a m e l e ve l . ' A c r o s s e a c h 1 2 , N a t i v e M a r t i a n s h a m a n s e s c a p e E a r t h • • Am e r i c a n g e n o c i d e , d r a g g i n g y o u w i t h t h e m a s t h e y s p e c i e s -j u m p to M a r s . U n kn own Force : Offwo r l d M a s s : O n c o m i n g M ot i o n : Scientist On S c i e n t i s t ' s '78 Scien tis t Mee ts th e Space In vaders t h e a r c a d e ga m e ' s progra m m e d z a p s i n s p i re t h e D e s k M a g u s to p rocess d r u m s i gn a l s i n t o i n t e n s i t i e s o f u n kn o w n force, m a s s a n d m o t i o n . E n g i ne e r -pr o duce r Overton Brown ' • S c i e n t i s t a l ters t h e beats u n t i l they become u n p l ay a b l e a n d u n recogn i z a b l e , o ffw o r l d s i g n a l s y s te m s . E a c h t r a c k c r o s s e s t h e s e n s o r i a l t h r es h o l d i n t o a u n i v erse o f p u l s a t i o n , fu t u r h y t h m s t h a t d r a g y o u r l i mb i c s y s t e m offw o r l d , a b a n d o n y o u r m o t o r - r e f l e x o n E a r t h to fen d f o r i ts e l f a n d

07 [ 1 2 9 ] l e a ve you h e a d l e s s o n Ven u s . Su p e r c u s s i o n : a t Wa r w i t h G r a v i t y W i th S c i e n t i s t , d r u m s t i cks s t o p b e a t i n g o u t t i m e o n t a u t s u r fa c e s . I n s t e a d u n k n o w n i n s t r u m e n t s d r o p l i ke d e a d w e i g h t s o n t o t h e s u rface o f u n i d e n t i f i a b l e p l a n e t s . Pulsar b u i l d s r h y t h m o u t o f s i ng l e i m p a c t s w h i c h c o l l a p s e l i ke b o x e s d r o p p e d f r o m t h e n o r t h f a c e o f K i l i m a nj a r o , c ru m p l e l i ke m e t a l c a s e s s t a v e d i n 2 t h e n s w i t c h i n t o ra p i d f i r e z a p s . T h e o ffw o r l d g r a v i t y o f q u a s a rs a l t e r s t h e force, m a s s a n d m o t i o n o f t h e b e a t , t r a n s fo r m i n g t h e s t r es s - i m pa c t o f t h e e l e c t ro m a g n e t i c s i gn a l s . I n Laser A ttack, m e ta l l i c b o u l d e r s cave in u n d e r the p r e s s u r e of t h e i r own w e i g h t , s h u d d e r i n g i n a d o u b l e i m pa c t . Space In vaders r e p l a c e s d r u m s t i c ks w i t h bou l de r s , m e t a l b o x e s , m e t e o r i t e s , i n d u s t r i a l o bj e c t s p l u m m e t i n g t h r o u g h s p a c e to c r a s h o n p l a n e s r i g i d i fi e d by a s y e t u n d i s covered a l l o y s . O n B e a m D o wn, p a c k i n g c r a t e s i m p l o d e o n i m p a c t t h e n s w i t c h i n t o s h o t s r i c o c he t i n g d o w n a c o r r i d o r o f a n g l e p o i s e m i rr o r s . Wa l l s o f S o l i d A i r I n d u b , b a s s t r a d i t i o n a l l y a c t s a s t h e p r e s s u re d r o p . O n Red Shift, Time Warp and Pulsar, the low end has b e c o m e s p e c t r a l w a l l s o f i n fr a ­ p r e s s u r e w h i c h b u c k l e a n d fo l d y o u i n t o c o l o s s a l p o c k e t s o f s o l i d a i r , w a r m b a n ks t h a t l o o m u p to s u r r o u n d y o u . W i t h L aser A ttack, t h e b a s s r i p p l es t h e a i r a s i t o r b i t s a d i s ta n t p e r i m e t e r , t r i gge r i n g t e s t s i gn a l s l i ke t h e w a r n i n g t o n e s of a n e l e c t r i f i e d fe n c e . O n De Ma terialise, b e a t s s u d d e n l y c r a s h i n to e a r s h o t , t r i gger i n g e c h o e s t h a t reso l v e i n s te a d o f reced i n g , co l l a p s e l i ke s q u i s h y s e t t e e s , c h a s e e a c h o t h e r r o u n d c o r r i d o r s . I n fr a s o n i c b a s s for m s a c o l o s s a l m e l o d y t h a t s ta l ks B r o n t os a u r i a n t h ro u g h o u t . S o n a r p u l s e s r e p l a c e h a r m o n y w i t h e c h o l o c a t i o n , t h e l o n g - d i s ta n c e m a c h i n e - m a c h i n e c o m m u n i c a t i o n .

07[ 1 30 ] E l e ctric circu i t ry co n fe rs a m y t h i c dim e n s io n o n o u r o rdin a ry in divi d u a l a n d g r o u p a c t io n s . O u r t e ch n o logy fo r c e s u s to live m yt h ica lly /ll a rshall /ll c:L uhan T h e P o s s i b i l i t y S p a c e of t h e S o u n d c l a s h T h e s p a c e i n v a d e rs h a ve m i gr a t e d from t h e s c r e e n , l e ft t h e a r c a d e t o i n v a d e Lo n d o n . O n To n y M c D e r m o t t ' s 7 0 s M a rv e l C o m i c - s t y l e c o v e r , S c i e n t i s t i s a s u p e r h e r o i n l i m e g r e e n t o p e m b l a z o n e d w i t h a n S , ye l l ow s l eeves, bright green pants a n d p u r p l e boots, firing laser shots a n d a i m i n g k i c k s a t t h e p i x e l - s p r i t e fo r m a t i o n l a n d i n g i n a g r e y c a r p a r k i n N o r t h L o n d o n . B e s i d e h i m , a w o m a n c r o u c h e s a n d s q u eezes o ff a t a n a l i e n . A m o t h e r i n a r e d a l l - i n - o n e , w i t h a 7 0 s A fr o , t u r n s , frozen fe a r fu l l y with h e r kid, a s a b l o n d e h i t s c o n c r e t e . O r ga n i s e d s o u n d c l a s h e s i n t h e m i x . T h e 3 r d m o m e n t a r y t r a c k e m erges fro m t h e c o n v e r g e n c e o f 2 t r a c k s . E a c h r e c o r d s h e d s i ts d a t e , e s c a p e s i t s c o n t e x t . T h i s p r o c e s s d i s s o l v es t h e l i n e s o f a s s oc i a t i o n , d e h i s to r i c i z e s e a c h t r a c k . A t t h e s a m e t i m e , m i x o l ogy r u b s e r a s a ga i n s t e a c h o t h e r , g e n e r a t e s t h e t e m p o r a l fr i c t i o n o f a n a c h r o n os i s . T i m e s l i p s o u t o f i ts d a t e , v a p o r i z i n g h i s t o r y a t p l u s 4 o n p i t c h a dj u s t m e n t , fr i ct i o n a l i z i n g i t a t p l u s s . T h i s p r o l i fe r a t i o n i n to n e t w o r k s o f t i m e for m s t h e h e t e r o to p i a s w h e r e Scien tis t Meets the Space In va ders. D u b ' s p o s s i b i l i ty s p a c e o f t h e m e e t i n g fu n c t i o n s a s a p s y c h o a co u s t i c fi c t i o n a l p l a n e w h e r e w o r l d s c o l l i d e . E a c h e l e m e n t i n a fu t u r h y t h m a c h i n e m y t h o l o g y i s a co m m u n i c a t i n g v e s s e l . T h e 1 2 b e c o m e s t h e s o n i c w e a p o n . T h e d ec k s b e c o m e a p l a t f o r m w h e r e a l i e n s a t t r a c t : S c i e n t i s t m e e t s S t a r C h i l d , Pa c m a n m e e t s A s t r a l A p a c h e , S i l ve r S u rfer m e e t s t h e S h o c kw a v e R i d e r , C a p t a i n A fr o - A m e r i ca m e e t s t h e D o u b l e D u tc h R e m a n i p u l a to r , S u p e r n a u t m e e t s t h e C a m o u fl a g e N i nj a , F u n k I g n i ter P l u s m e e t s t h e P u r p o s e M a ke r , F i r e k e e p e r m e e t s K i l l a h P r i e s t , t h e S u b u r b a n K n i g h t fa ces t h e TX R e a n i m a t o r , T h o u s a n d F i n g e r M a n m e e t s S w e e t E x o r c i s t , D o c t o r E i c h m e e t s M r G e r b i k , Lord o f t h e N u l l L i n e s m e e t s t h e Te r r o r M a d V i s i o n a ry, T h e R Z A r e c t o r m e e t s D r L u d i c r o u s , D r S tr a n g e m e e t s t h e S p e c t ra l N o m a d , I ro n M a n m e e t s G a m m a P l a y e r , G o d a r d ' s Ta rza n m e e t s I B M , G hostDa ncer meets G host Face K i l ler, Cybotron meets The W i n d w a l ke r , D r B l ow f i n m e e t s V o n B l o fe l d t h e B l a c k L o t u s , T h e D a t a T h i e f m e e t s P l u ra m o n , H a l l u c i n a t o r m e e t s D a r k M a g u s , G i g i G a l a x y m e e t s t h e B l a c k R e ge n t , M r F r e e d o m X m e e t s M a s ta K i l l e r , Ve i n m e l t e r m e e t s S c i - C l o n e , S e c r e t G i r l k i s s e s t h e M a n from To m o r r o w , T h e

07 [ 1 3 1 ] I l l u m i n a to r m e e t s T h e C e l l u l a r A u t o m a t o n . E a c h c o m p o n e n t e x c i t e s a n o t h e r i n a n a d v e n t u re o f c o n c e p t s . M a c h i n e M u s i c i s c o s m o ge n e t i c . I t p e r p e t u a l l y g e n e r a t e s ' m y t h i c w o r l d s o f e l e c t ro n i c a l l y p r o c e s s e d e x p e r i e n ce . ' Mate r i a l i z i n g Offwo rld Revo l u t i o n s : X- 1 0 2 D i scovers 'The R i n g s of Sat u r n ' The m o m e n t t h e b e l i e f t h a t t h e s tr e e t i s t h e p r e d e t e r m i n i n g l a w a n d l i m i t o f a l l b l a c k p o p c u l t u r e i s d e s t ro y e d a n d d i s re g a r d e d , t h e p o s t w a r R h y th m a c h i n e w i l l - t o - c o n c e p t u a l i z e b e c o m e s i m m e d i a te l y a n d o v e r w h e l m i ng l y a u d i b l e . Fa r fro m begi n n i n g i n 7 0 s B r i t a i n a n d e n d i n g w i t h p u n k [ a s m e d i a fo l kl o r e s o fon d l y m a i n t a i n s ) t h e Progre s s i v e E r a o p e n s w i t h S u n R a . A n d t o d a y you l i ve i n a fa r m o r e conce p t u a l era t h a n Progres s i v e R o c k ever drea m t o f. 4 H ero, K i l l a rm y, D r Octagon and Red P l a n e t fa b r i c a t e c o n c e p t s , p e r p e t u a t e D i g i t a l M y t h Systems a n d p ro l i fe r a t e s o n i c t h e o r i e s fa r m o r e exces s i v e t h a n G o n g ' s . M a c h i n e M u s i c i s e x u b e r a n t i n i t s e x o rb i ta n c e . T r a d w h i te j o u r n a l i s m i s a ffro n t e d a t t h e n e w s t h a t e x - U R p r o d u c e r J e f f M i l l s t h i n ks i n c o n ce p t s . Q u e r u l o u s l y , i t p o n d e r s h o w a n d w h y s u c h a t h i n g c o u l d h a p p e n . A n d s t a rts s e r i o u s l y t o d o u b t w h e t h e r B l a c k M u s i c i s re a l l y s a fe i n h i s h a n d s , o r T r i c k y ' s , o r D r O c t a go n ' s . I t i s n ' t . I t never w a s . M e s m e r i zed b y b e l i e f s y s t e m s l e ft o v e r fro m H i p H o p , T r a d m e d i a s l e e p w a l ks t h r o u g h t h e s e n s o r i a l i m p l i c a t i o n s o f S o n i c F i c t i o n , d e a f to its fo r m a l o p e r a t i o n s , t e r m i n a l l y u n a b l e t o c o m p r e h e n d the p e r ce p t u a l i l logic o f your Age. U n b l a c k U n po p u l a r U n c u l t u r e O n l y j o u r n a l i s m c a n d e l i v e r y o u t o s o u n d s a fe l y. F u t u r h y t h m a c h i n e s fo r m a d i s c o n t i n u u m t h a t i s u t t e r l y indifferen t to t h e s t r e e t . M a c h i n e M u s i c t h e re fo r e a r r i ve s a s u n b l a c k , u n p o p u l a r a n d u n c u l t u ra l , a n U n i d e n t i fi e d A u d i o O bj ec t w i t h n o g ro u n d , n o r o o t s a n d n o c u l t u r e .

07[ 1 3 2 ] T h e o ry a t 1 3 0 B P M A s X - 1 02 , B a n k s ' s , M i l l s ' s a n d H o o d ' s ' 9 2 p roj e c t a n n o u n ces i ts c o n c e p t a t o n c e : X- 102 Disco vers 'Th e Rings of Sa turn '. S l eeve a rt, t i t l e s , l a b e l a r t , every t h i n g o u t i n t h e o p e n a n d y e t p o w e r fu l l y u n c l ea r . T h e c o n c e p t a l b u m , j e ff M i l l s a rg u e s , s h o u l d ' m a te ri a l i z e a n i d e a o r a t h e o r y , t o try t o e x p l a i n w i th m u s i c a c e r t a i n p l a ce o r a c e r t a i n t h i n g . ' So t h o u g h t trave l s a t 1 3 0 b p m . The m o m e n t c o n c e p t s a re m a te r i a l i ze d , t h e y b e c o m e p l a s t i c : m i x i l l o g i c a l . E l ec t ro n i c d u o M o u s e o n M a r s : ' E veryth i n g y o u p r e s s o n a r e c o r d i s t h e record . H i fi c o n s c i o u s n e s s i s w h a t y o u r e a r s e x p e c t f r o m a r e c o rd . ' Replayable Mindstates W i t h j a m e s B r o w n ' s ' 7 1 R e vo l u tion of th e Min d, t h e record b e c o m e s a r e p l a y a b l e m a c h i n e for g e n e ra t i n g n e w m i n d s t a t e s . B r o w n i a n h i fi c o n s c i o u s n e s s a b s tr a c t s revo l u t i o n from t h e d e c k s a n d a p p l i e s i t to t h e h e a d . I t g r a s p s t h e i n t i m a te m a c h i n e i n terface o f h u m a n a n d d e c k s . B l a c k A t l a n t i c F u t u r i s m i s c h a ra c t e r i s e d by 2 t e n d e n c i e s : f i r s t , a d r i v e t o w a r d s C o s m o ge n e s i s , t o w a r d s c o n c e p t e c h n i c s , S o n i c F i c t i o n , c o n c e p t t r i l o g i e s a n d c o n c e p t E P cyc l e s ; s e c o n d , a c o n t r a r y d r i v e t o w a r d s t h e m e t a , towards sound for its own sake. D i sco Lu n a r M o d u l e F r o m t h e s e l f- r e f l e x i ve f u n k o f j a m e s B r ow n ' s ' 6 9 - ' 7 1 t r a c k s - A in 't I t Funky No w Parts 1 and 2, Funky Drummer Parts 1 and 2 , Make I t Funky Parts 1 - 4 - to t h e m e ta - H i p H o p of D e Ia S o u l ' s Skip to My L o op a n d This Is a Recording a n d t h e m e t a m a t i c E l e c t r o of M a n P a rr i s h ' s Six Simple Syn th esisers, from the s e l f- r e f l e x i v e H i p H o p of M a n t r o n i x ' s Basslin e to t h e s e l f - r e fl e x i v e Tec h n o o f Carl C ra i g ' s Oscilla tor, F u t u r h y t h m u s i c s a c r i f i c e s c o n t e n t to t h r o b a n d p o l i t i cs f o r p u l s e . B l a c k M a c h i n e M u s i c i s a l w a y s a p p l a u d e d f o r i ts m e s s a ge b e c a u s e s e r i o u s n e s s m u s t a l w ays be s o c i o po l i t i c a l . But t h e F u t u r h y t h m a c h i n e emerges when m u s i c t u r n s a way f r o m t h e w o r l d a n d g o e s r o u n d a n d r o u n d i n c i rc l e s ; w h e n t h e t r a c k m a n i fe s t s t h e t i t l e ' s m a n i fe s t o . C o n v o l u t o r [ Ty p e G a l i l e i ] R e vo l u t i o n m i gr a t e s from m a c h i n e t o m i n d . T h e t o n e a r m t r a v e l s a c r o s s t h e g r o o v e s o f t h e m i n d i n a u n i v e r s e o f e v e r e x te n d i n g r a d i i from t h e c e n t r e . j e ff M i l l s ' s Inner San c tum i s i n te n t i o n a l l y m a s te r e d i n r e v e r s e s o t h a t ' th e n e e d l e s p i r a l s f r o m t h e i n s i d e o u t ' . U R ' s a n d j e ff M i l l s ' s 1 2 s p l a y

07[ 1 3 3 ) from t h e r u n o u t t o t h e b e g i n n i n g o f t h e v i n y l , s t a r t i n g w h e r e t h e o rd i n a ry 1 2 e n d s , fi n i s h i n g w h e r e t h e n e e d l e u s u a l l y l a u n c h e s i t s e l f. By s w i t c h i n g d i re c t i o n t o p l a y fo r w a r d from the end, the reve r s e - m a s tered 12 p r o v o k e s acute c o g n i t i v e d i s s o n a n c e . Reverse-engineering the Brown i a n revo l u t i o n a l ters the grooves o f t h e m i n d , t u r n s h i fi c o n s c i o u s n e s s i n s i d e o u t , a n d c o n fr o n t s y o u w i t h t h e C l i n to n i a n h a b i t fo r m w h i c h i s y o u . M i ke B a n ks e x p l a i n s h o w t h e s u p e rv i s o r a t t h e N a t i o n a l S o u n d C u t t i n g p r e s s i ng p l a n t i n D e t ro i t ' s h owed u s a w a y o f c h a n g i n g t h e d i re c t i o n o f t h e m a c h i n e s j u s t b y c h a n g i n g t h e b e l ts o n t h e m a c h i n e ' s m a i n d r i v e . We u s e t h e s a m e m a ch i n e s t h a t t h e y u s e d b a c k i n t h e M o to w n d a y s , w h i c h a r e a n c i e n t c o m p a r e d to t h e o n e s t o d a y , w h i c h y o u ca n ' t t a m p e r w i t h . ' The C o n c e p t e c h n i c s o f M a t e r i a l i z a t i o n X - 1 0 2 d r a s t i ca l l y e x p a n d s t h e i n fo r m a t i o n v i n y l n o r m a l l y c o n t a i n s . Materi a l izing concepts generates ' a s u d d e n m u l t i p l ication o f d i m e n s i o n s o f m a t t e r ' . V i r i l i o ' s p r o c e s s c a n be fo r m a l i zed a s t h e e q u a t i o n M x C [where M = Material and C = = Mn Concepti. The mastering, sequencing and timing o f the album, the track, the l a b e l , the s leeve, the t i t l e : the c o n c e p t u a l p o t e n t i a l o f e a c h i s m a t er i a l i z e d . The p o s s i b i l i ty s p a c e o f e a c h l e ve l i s i m p re s s e d i n t o t h e g r o o v e so t h e r e c o r d b e c o m e s a n e w o bj e c t , t h e p l a s t i c c o m p l ex r ot a t i n g o n i t s a x i s . 'You have to visua l l y describe i t on the vinyl - that's what c o n s t i t u t es a n X p r oj e ct . ' M i l l s e l a b o r a t e s , ' T h e l a b e l i t s e l f i s t h e a c t u a l p l anet, the grooves are the a c t u a l ri ngs, so i n a certa i n way you c a n g i v e t h e i m p r e s s i o n t h a t t h e g r o o v e s a r e t h e r i n g s o f S a t u rn . ' C i r c u m l u n a r R e vo l u t i o n W i t h B r o w n , grooves revo l v e a r o u n d t h e m i n d . B u t w i t h X - 1 0 2 , r i n g s a re i n revo l u t i o n a r o u n d S a t u r n , a r t i fa c t u a l i z ed a s groov e s . W i t h Red P l a n e t , the grooves turn around Mars. Sonic Fiction turns your mind i n to a u n i v e r s e , a n i n n e r s p a c e t h r o u g h w h i c h y o u t h e h e a d p h o n a u t a re t r a v e l l i n g . Yo u b e c o m e a n a l i e n a s t r o n a u t a t t h e f l i g h td e c k c o n t r o l s o f C o l t r a n e ' s S u n s h i p , o f Pa r l i a m e n t ' s M o t h e rs h i p , o f L e e P e r r y ' s B l a c k A r k , o f S u n Ra's fleet o f 26 Arkes tras, o f Crea tion Rebe l ' s Starsh i p Africa, of T h e j B s ' M o n a u ra i l .

07[ 1 34 ) F a t a l E x p o s u r e t o t h e S o n a r Sy s t e m S o n i c F i c t i o n g e n e r a t e s c o s m i c s p a ce w h i c h i s n ' t a vo i d . C o l t r a n e ' s In ters tellar Space h a s a n a u d i o a s t r o l o g i c a l o r d e r to i t , a c os m i c h a r m o n y, a u n i v e r s a l s o u n d . M u s i c i s t h e c u r r e n t t h a t r e c o n n e c t s y o u to t h i s o r d e r, by t r i gge r i n g a c u r r e n t t h a t a l te r n a tes from y o u to t h e s o l a r s y s t e m . X - 1 02 i s n ' t S o n i c fiction i n t h i s sense. I t's not a jou rney i nto sound, b u t r a t h e r a fa t a l e x p o s u re to t h e vo i d . I n s t e a d o f s h i e l d i n g y o u from outer space, e v e ry t h i n g h e r e i s d e s i g n e d t o i n t e n s i fy its s e n s ory e x t i n c t i o n , t h e t ra u m a t i c c o n fr o n t a t i o n with t h e R i n gs o f S a t u r n : ' I magine being i n a world where all your God-G iven senses are extinct, w h e r e y o u r e x i s t e n c e i s b u t a m e r e fr a g m e n t i n a r i n g o r b i t i n g a p l a n e t . You m a y f i n d y o u r s e l f c a u g h t i n t h e s t a t e b e t w e e n t h e r o ta t i o n o f m o t i o n a n d t h e r o t a t i o n o f l i fe c i r c u l a t i o n . ' A l i e n A rtifactu a l i z e r X - 1 0 2 i s n ' t S o n i c F i c t i o n a t a l l , b u t s o n a r fa c t . The i n s i d e s l e eve t a b u l a t e s s c i e n t i fi c s t a t i s t i c s - r a d i i , w i d t h , c o m p o s i t i o n , i n fr a r e d s p e c t r a , r a d i o freq u e n c i e s - u n t i l t h e y t a k e o n a t e r r o r i z i n g a c t u a l i ty . X - 1 0 2 i s a n a l l o y o f s c i e n c e , a r t a n d s o u n d , a n a r te fa c t o f i n fo r m a t i o n a n d i m a g e m a t e r i a l i z e d i n v i n y l . O n S i d e A , e a c h t r a c k - Phoebe, Ti tan, Rhea - is s e p a r a ted by a s m o o t h b a n d w h i c h i m pe d e s the n e e d l e . E a c h b a n d h a s n u m b e r s 3 . 77 , 3 · 4 5 . 2 7 . The c i rc u m l u n a r l a b e l s h o w s a n e e r i e i n fr a r e d c l o s e u p o f a r i n g , w i t h S a t u r n i n s h a d o w . S i d e 1 B ' s l a b e l i s a d i a g r a m m a t i c m a p o f a s a te l l i te e x t e n d i n g i t s s e n s o r s o u t t o w a r d s t h e p e r i m e te r o f r i n g s . T h e f i r s t b a n d h a s a n i n c i s e d h e l i x , t h e n t h e t r a c k Te thys; t h e s e c o n d ' X - 1 0 2 D i s c o v e r s ' e t c h e d i n a n d t h e s e c o n d t r a c k Hyperion. S i d e 2 A ' s l a b e l s h o w s S a t u r n in s h a d o w at i ts top a n d b o t t o m , b o u n d e d by r i n g s . E a c h t r a c k i s s e p a r a ted by a c l e a r b a n d w i t h a h e l i x a n d t r a c k t i t l e s e t c h e d i n : C Ring, B R ing, Encela dus. S i d e 2 B ' s l a b e l i s a c l o s e u p of t h e r i ngs i n c o l o u r s , s h i ft i n g from gray to a s h to p u r p l e gray t o m a u v e red. T r a c k s a r e 1A Ring and Ground Zero [The Plan e t/: a h u ge expanse of vinyl land. X- 1 02 i n s t i l s a s e n s e o f s t a t i s t i ca l fea r a n d a b s o l u te m y s t e r y . I t s S l ee v e n o t e s r e p o r t t h a t ' S a t u r n ' s r i ngs w e r e c o n s i d e r e d o n e o f t h e g r e a t e s t m y s t e r i e s o f t h e s o l a r s y s te m , a n d s i n c e o b ta i n i ng d e t a i l e d d a t a on them the problems have, without doubt, i ncreased . ' T r a ct S p a c e m u s i c h u m a n i z e s s p a c e i n t o a m a n a gea b l e s u b l i m e . S o n i c F i c t i o n s h r i n ks i t d o w n t o t h e s i ze o f a s p a c e s h i p . T h e v o i d fee l s h o m e l y ;

07 ( 1 3 5 ) s p a ce w a y s for j o u r n eys b y dj . B u t i n s te a d o f p l a c i n g y o u i n s i d e s p a c e , t h e X- 1 02 a l b u m i s a c h u n k o f p l a n e t a ry m a t t e r reced i n g f r o m y o u . I t i n t e n s i fi es i ts d i s t a n ce from t h e h u m a n , i n s i s ts on a n o ffwo r l d s t a t e : Rings of Sa turn d o es n ' t b e l o n g o n E a r t h . W i t h X - 1 02 , T r a d a m b i e n t ' s w e i g h t l e s s n e s s becomes c h a m be r • • c r a t e r Tec h n o . fre q u e n c i es o f c o n c u s s i ve d i s t o r t i o n l i ke b a s ke t b a l l p l ayed w i t h a wrec k i n g b a l l o n c o n c r e t e . A l l t h e m a c h i n e r h y t h m s a re d i s torted i n t o u n recogn i z a b l e m e ta l l i c s tr e s s e s , i m p a c t s o f u n kn o w n fo r c e , m a s s a n d m o t i o n . D e e p s p a c e t h a t s ucks y o u r s o u l d ry. Z e r o g r a v i t y t h a t t u r n s i n to z e r o - d e g r e e t ra u m a . X-102 s h o u l d n ' t e v e n b e h e r e , o n y o u r d e c k s . I t i s a p i ec e o f a n o t h e r p l a n e t m a n u fa c t u red o n e a r t h . A n o ff- w o r l d a r te f a c t e n g i n e e r e d by X 1 0 2 , a n a l i e n a r t e fa c t m a t e r i a l i z e d i n D e t ro i t : ' H o w l o n g a t r a c k s h o u l d be w a s d i c t a ted by h o w w i d e t h e r i n g a c t u a l l y w a s o n S a t u r n . W h a t t h e ri ngs w e r e made out o f determ ined the texture o f t h e track. T h e w a y t h e y w e r e s e q u e n ced w a s l i n ke d to t h e c o n c e p t a n d t h e c o l o u r o f t h e a r t w o r k i s very s i m i l a r t o w h a t i t re a l l y l o o k s l i ke . ' Wh a t h e s e t s in m o t i o n is t h e MANIFESTE D . I t is a kin d o f p rim a ry p hysics Antonin Artaud M a t e r i a l s f o r t h e M a n u fa c t u r e of A m p l i t u d e C o n c e p t s M a t e r i a l i z i n g t h e c o n c e p t t u r n s t h o u g h t i n t o a v i n y l o bj e c t . D r o p p i n g t h e n e e d l e l a u n c h e s t h e P h o n o P h y s i c s o f Tec h n o , i g n i tes t h e s u b a t o m i c w o r l d o f M i l l s - a r t . 'Th e o r i e s a n d s u bj e c t s o f s u b s t a n ce i s t h e e l e m e n ta r y e l e m e n t t h a t fue l s t h e m i n d s w i t h i n o u r a x i s . ' The a l b u m e m e rges f r o m t h e s e c o n ce p t u a l o p e r a t i o n s . A t t h i s l ev e l , ' s u bj e c t s o f s u b s t a n c e ' a n d ' t h e o r i e s ' b e h a v e a s ' th e e l e m e n t a r y e l e m e n t s ' w h i c h ' fu e l s t h e m i n d . ' The m i n d rotates about ' the a x i s ' i n a perpetua l rea l i gnment o f atoms. T h e A x i s M a n i fe s t o d i a g r a m s a n e l e c t r o n i c t h o u g h t c i r c u i t , t h e c o n c e p t e c h n i c s o f Tec h n o . J e ff M i l l s w o rs h i p s r o t a t i o n a s a p r o c e s s o c c u r r i n g a t a/l le vels of m a teria l reali ty, from t h e t u r n o f t h e Tec h n i c s 1 2 0 0 t a b l e s t o t h e l o ck g r o o v e , from t h e s p i n cyc l e o f s u b a t o m i c ' e l e m e n ta ry e l e m e n t s ' to t h e R i n gs o f S a t u r n . I n g e n e r a l c o n c e p t s , t h e o r i e s a n d i d e a s a re d e l i b i d i n i z e r s , d i s i n te n s i f i e r s d ra i n i n g v i t a l e n e rgy a way f r o m m u s i c : i d e a s p u t t h e m i n d b a c k o n t h e m i n d l e s s Tec h n o h e a d , t h e h e a d b a c k o n t o t h e h e a d l es s H i p H o p fa n a t i c . B u t h e r e c o n c e p t a n d m a t t e r c o n t i n u o u s l y in tensify e a c h

07[ 1 3 6 ] o t h e r . M i l l s t h e dj / t h e o r i s t m i x es t h e m i n t o h o t freq u e n c i e s a n d c r y o ge n i c i n t e n s i t i e s , d r a s t i ca l l y d r o p p i n g a n d r a i s i n g t h e t e m p e r a t u r e o f t h o u g h t . M a te r i a l i z e d c o n c e p t s fee d ba c k o n e a c h o t h e r . X - 1 0 2 ' s p u n i s h i n g v e l o c i t i e s a n d h o s t i l e fre q u e n c i e s d o n ' t d i s e m bo d y y o u ; i n s t e a d t h e y h u r l y o u i n to y o u r b o d y , p r e p a r i n g y o u f o r t h e r i g o u r s o f s p a c e t r a v e l b y i m m e rs i n g y o u i n X - wz ' s m a c h i n e e n v i r o n m e n t . S o n g s a r e r e p l a c e d by w h a t M i l l s t e r m s w a v e fo r m t r a n s m i s s i o n s w h i c h a m p l i fy c o n c e p t s a n d e l e c t r i fy t h o u g h t p a t t e r n s . B y c o l l a p s i n g c o n c e p t i n t o m a t te r , a n d t h e m e n t a l i n to t h e m a te r i a l , t h e r e c o r d fu n c t i o n s i n 2 p a ra l l e l s y s t e m s : a s a c o n c e p t v i s u a l i zed o n v i n y l a n d a s p u n i s h i n g freq u e n c i e s , o r c h e s t r a l l y a r ra ng e d Tec h n o , s e p u l c h r a l a n d fro s t e d , a R h y t h m a c h i n e o f p l a n e t a r y i n fo r m a t i o n . T h e c o n c e p t h a s m e rged w i t h i ts s u r fa c e . S i m u l t a n eo u s l y a l l c o n c e p t s h i d e i n t h e r e c o r d , reces s e d , s u b m e rged , d e m a n d i n g t h a t y o u s i n k t h r o u g h t h e d i m e n s i o n s o f m a t t e r b e fo r e d e co m p r e s s i n g u p t h r o u g h t h e groove s . X - 1 0 2 s w i t c h e s o n , p h a s e s h i fts from i n e r t p l a s t i c i n t o a k i n a e s t h e t i c k o m m a n d e n g i n e . ' W h e n t h e n e e d l e c o m e s to t h e e n d o f t h e f i r s t t r a c k i t s t o p s . T h e n y o u h a v e t o p i c k i t u p o n t h e n e x t , s i gn i fy i n g that the tracks are separate . ' By compel l in g you to get u p a n d change the n e e d l e , t h e r e c o r d d r a w s y o u i n to i t s o r b i t , t u r n s y o u i n t o i ts o w n o b e d i e n t s a t e l l i te . I n t e n t i o n a l l y m a s te r i n g t h e v i n y l , i t r e m o t e - co n t r o l s whoever l i stens. I r e c a l l a NASA Sp a c e Wa l k , t h e a s t ro n a u t s r o t a t i n g t h e e a rth a t a n e n o rm o u s ra t e o f s p e e d Jeff lrlills Reverse - E n g i ne e r t h e D i re c t i o n o f Revo l u t i o n P u l s a t i n g l o c k grooves, pauses between tracks, reverse grooves, w i d e r t h a n n o r m a l groove s : M i l l s u s e s a s e r i e s o f r e m a s te r i n g o p e r a t i o n s t o a l te r t h e d i re c t i o n o f rev o l u t i o n : n e i t h e r fo r w a r d n o r r e v e r s e b u t cyc l i c . T h e M i l l s - a r t u n i v e r s e c y c l e s i n c o n ce n t r i c r a d i i f r o m t h e r e w i n d o f t h e 1 2 to t h e 3 0 - y e a r r e c u r r e n c e o f m i n i m a l a r t . U t o p i a a n d M a n from To m o r r o w , z e r o - d e g r e e c h a m b e r Tec h n o f r o m the Cycle 3 0 E P, r e s c o r e s B o w m a n re s t i n g i n t h e w h i t e G e o r g i a n r o o m o f 2 0 0 1 . M i l l s s y n t h e s i ze s a g i t a ted p i z z i c a t o , h i gh p i tc h e s t h a t s l i d e a n d t u g a t y o u , n a g a n d d a r t a t t h e b o d y . Y o u s e i z e u p i n a h y p e r a l e r t s t a t e , a t ta c ke d b y t h e fa l l i n t e m p e ra t u re , u n a b l e t o g e t a w a y from y o u rs e l f. C o n d u c t i o n l e v e l s a l te r

07[ 1 37 ] a c r o s s t h e s k i n a n d i g n i te fe e l i n g , t h e s e n s a t i o n s o f c o l d m o v e m e n t through space. Cyc l e s s c a l e a c r o s s t h e m e c h a n o s p h e r e , c o l l a p s i n g c a u s e a n d e ffe c t , s c r a m b l i n g b e g i n n i n g a n d e n d i n t o r e c u r s i v e c i rc u i ts , c i r c u i t s w h i c h fu n c t i o n by t h e m s e l v e s . M i l l s p e r s o n i fi e s t h i s p ro c e s s o f A u to C a t a l y s i s a n d A u t o C r e a t i o n i n t h e A x i s s i s t e r l a b e l t i t l e : P u r p o s e M a ke r . Tu r n t a b l e C o n s c i o u s n e s s i s ge n e r a l i z e d i n to a s o c i a l m a c h i n e w h i c h i s t h e n m a n i fe s t e d a n d w o rs h i p p e d . C o i n c i d e n t w i t h s k r a t c h a d e l i a a n d t u r n ta b i l i z a t i o n , t h e c y b e r n e t i c s o f t h e Tec h n i c s g e n e r a t e s t h e c o ­ revo l u t i o n o f t h e F u t u r h yt h m a c h i n e .

08 [ 1 3 8 ] M IXAD E LIC U N IV E RS E We A r e i n Yo u r Syste m : P a r l i a ment A c c o r d i n g t o T r a d m e d i a fo l k l o r e , fu n k eases y o u i n t o t h e groove; it p u t s y o u i n t o u c h w i t h y o u r b o d y , i t h u m a n i z e s y o u . W i t h Pa r l i a m e n t , f u n k b e c o m e s P ' a r a n o rm a l i ze d , t h e p r i z e a n d t h e s t a ke i n a n o n go i n g b a t t l e between the a l ien and the ada pted h u m a n , between abduction by audio a n d p o s s es s i o n b y p h o n o . l n t h e Pa r l i a me n t M y t h S y s t e m s , f u n k - l i ke o v a r i e s , s p e r m or t h e s a n d w o r m s p i ce i n Dune - i s t h e v i t a l fo r c e , t h e elan vital t h a t v i s i t i n g a l i e n s w a n t to e x t r a c t a n d e x t o r t . The P ' F u n k t r a c k a l w a y s d e m a n d s t h a t y o u ' G i v e u p t h e fu n k ' . P e rc e p t u a l I n fi l t r a t i o n P ' F u n k i s a n e n c o u n te r w i t h t h e a l i e n : ' G o o d ev e n i n g . D o n o t a t t e m p t t o a dj u s t y o u r r a d i o . T h e r e i s n o t h i n g w r o n g . ' ' 7 5 ' s P Funk ! Wa n ts t o G e t Funked Up} i s t h e P ' h o n o F i c t i o n o f t h e n o n h u m a n s y s t e m t h a t c a p t u res t h e fre q u e n c i e s , r i d e s in on the r a d i ow a v e s , seeps i n to your s e n s e s . l t t a k e s a d v a n t a g e o f t h e ' fe a r fu l m e d i u m ' o f ra d i o t o m a n i fe s t t h e a l i e n p o w e r o f b r o a d c a s t i n g . P ' F u n k p e r s o n i fi e s t h e n o n h u m a n force o f m e d i a t h a t r e l e a s e s w h a t S c h a fe r d e fi n e s a s ' a n i n v i s i b l e e x c i t e m e n t f o r t h e n e rv e s b e c a u s e w e c a n n o t s e e w h o o r w h a t i s p r od u c i n g t h e s o u n d . '

08[ 1 3 9 ) ' We h a v e t a k e n c o n t r o l s o a s t o b r i n g y o u t h i s s p e c i a l s h o w ' : b y c o m m a n d e e r i n g t h e c o m m u n i c a t i o n s s y s t e m , Star Child a u t o m a t i ca l l y ga i n s a c c e s s t o t h e m i d b ra i n : ' W e w i l l r e t u r n i t t o y o u a s s o o n a s y o u a re groovy. ' P ' F u n k i s t h e p ' h o n o g e n i c i n fi l t r a t i o n o f t h e r e c o r d i n g a p p a r a t u s a n d b y e x t e n s i o n t h e p e r c e p t u a l sys t e m . Star Child i d e n t i fi e s t h e fa t a l h u m a n wea k n e s s : h u m a n s h a ve n o e a r l i d s , a n d a r e h e l p l e s s b e fo r e a u r a l i n v a s i o n . S t a r C h i l d ' s v o i c e i s s o exce s s i v e l y p ' h o n o ge n i c t h a t i t b e c o m e s q u e a s y a n d g l o a t i n g . I t i s m a g n i fi e d , a m a n i c , m o c k i n g c l o s e u p t h a t n e s t l e s i ts e l f r i g h t i n s i d e y o u r e a r , i n s i n u a t e s i t s e l f t h r o u g h y o u r h e a r i n g , s p e d u p a n d reverbed u n t i l i t secre tes s e n s e . I t s c a n s a l l t h e reco r d i n g s y s t e m s a va i l a b l e a n d d e c i d e s t o c r o s s i n to t h e a u d i to r y c a n a l t h r o u g h t h e m i ke fi l t e r : a n a s s a u l t o n a l l p a r t s o f t h e b i g b r a i n by t h e u n i v e rs a l i n v a d e r s o f fu n k . T h e S p a ce l i n k R a d i o o p e n s u p t h e s p a ce l i n k , t h e c h a n n e l b e t w e e n o ffw o r l d a n d o n wo r l d . F o r Pa r l i a m e n t , r a d i o c o n n e c t s t h e h u m a n t o t h e a l i e n : ' We l co m e t o t h e S t a t i o n W E F U N K , b e t t e r k n o w n a s W E F U N K o r d e e p e r s t i l l t h e M o t h e rs h i p C o n n ec t i o n , h o m e o f t h e e x t r a t e r r e s t r i a l b r o t h e r s . ' L i s t e n i Rg t o S t a t i o n W E F U N K t u r n s y o u i n to t h e m e d i u m t h r o u g h w h i c h t h e U n i d e n t i fi e d A u d i o O bj ec t a r r i ve s o n E a r t h . B r o a d ca s t i n g i s t h e u m b i l i c a l s y s t e m w h i c h d e l i v e r s t h e h u m a n l i s te n e r i n to t h e c o m fo r t i n g a u d i o e n v i r o n m e n t o f t h e M o t h e rs h i p . I n s i d e t h e M o th e rs h i p y o u fee l a t h o m e i n t h e a l i e n , e n w o m b e d i n a u d i o : ' C o m i n g to y o u d i re c t l y fro m t h e M ot h e r s h i p C o n n e c t i o n . ' Extract/Extort I ' l l fu n k w i t h y o u r m i n d : to fu n k i s to t h reaten a n d p r o m i s e , to e x h o r t a n d extract, to fu n ka t i ze t h e psyche t h r o u g h a l o g i c o f t h e p u n w h i c h c o u p l e s c o n c e p t s w h i l e fuck i n g you i n t h e h e a d . W h e n D r F u n k e n s te i n e m e rges from t h e M o t h e rs h i p , w r i t h i n g down its s i l v e r steps in M a d i s o n S q u a re G a r d e n ' 7 8 , i t ' s t h e a u d i o l i feform come a l i v e . The Pa r l i a m e n t fa n craves the s y n t h e t i c . The world o f t h e track expands t o devour t h e eager a u d i ence. Overton Lloyd, Pa r l i a m e n t ' s s l eeve a r t i s t , designs F u n k e n s te i n accord i n g to C l i nt o n ' s s p e c i fica t i o n : ' D raw a s p a c e m a n , p u t a c l o a k o n h i m , p u t d i a mo n d s o n t h e c l oa k , m a ke h i m l i ke a p i m p s p a cem a n . ' H e i s t h e S p a ce p i m p w i t h s p i derweb s h a d e s . The c a r t o o n c r o s s e s f r o m t h e Pa r l i a m e n t u n iverse i n to y o u r s . The P' h o n o F i c t i o n a l pers o n i fi c a t i o n c a p t u res t h e a u d i en c e , drags i t h a p p i l y i n to the Pa r l i a m e n t P'os s i b i l i ty S p a c e .

08[ 1 4 0 ] E m e r g i n g fro m t h e M o t h e r s h i p , h e > i t l o l l s a n d l u r c h e s fro m s i d e t o • s i d e l i ke a n i n ve r t e b r a t e m a n d ro i d . D r F u n k e n s t e i n b e g i n s a s e n t e n c e s l owed d o w n i n to a n a n c i e n t a l i e n , b u t by t h e e n d i s a p e r v e r s e i m p a l ways ' e g o - t r i p p i n g a n d b o d y s n a t c h i n g ' . T h e i d h ij a c k s t h e h e a d a n d e m i t s s i g n a l s t h r o u g h t h e m o u t h , g e n e ra t i n g n a u s e a t h r o u g h p i tc h a dj u s t m e n t . T h e m a s ter t ec h n i c i a n o f C l o n e F u n k w e a r s s p i d erweb s h a d e s with w h i t e p l a s t i c arms that grip his face from t e m p l e t o b e l ow t h e c h e e k bo n e . W h i t e fur c o a t t ra i l i n g , c a r ry i n g a c a n e , h i s face c u r t a i ned by a l o n g s t ra i g h t h a i red wig a n d fu r r y , f l o p p y w h i te hat w h i c h d r o p s o n t h e b e a t , i t s " h i s v o i c e i s p e r p e tu a l l y m o b i l e , roa m i n g from s a r d o n i c s c i e n t i s t to s q u e a ky id, u n a b l e to s ta b i l i z e i n t o a s i n g l e s e l f. The Prelude from The Clon es of Dr Funkens tein e n d s w i t h h i s > i ts • voice s l owed d o w n to a d re d g e d - u p d r a w l : 'And fu n k i s i ts o w n rewa r d . M a y I f r i g h t e n y o u . ' F u n k e n s t e i n i s n o t s o m u c h a v o i c e a s v o c a l m a t t er m i x a d e l i c i z e d i n t o s t rea m s o f reversed s y n t a x , t h e gro a n i n g b u r b l e o f t h e g e n e r a l i s s i m o d r ow n i n g i n q u i c k s a n d , d o u b l e - b a c k w a r d s t a p e reve r s i n g i n t o a r e v e r s e n a r r a t i o n , m a l i c i o u s i d s g a m b o l l i n g a n d g i gg l i n g a t the edges of earshot. P ' F u n k c o m p e l s y o u to s u c c u m b to t h e i n h u m a n , t o be a b d u c ted a n d l ove i t . F u n k g e t s d r a w n o u t o f t h e b o d y , a n e n t e l e c h y h a r v e s t e d b y a n a l i e n fo r c e . I n Unfunky UFO, t h e a l i e n s t r a u m a t i z e t h e s o n g ' s c o n t a c t e e w i t h t h e i r d e m a n d for fu n k : ' Li k e a t r i c k o f l i g h tn i n g i t c a m e / fi l l i n g m y b ra i n w i t h t h i s p a i n / W i t h o u t s a y i n g a w o r d I h e a r d t h i s v o i c e / g i v e u s t h e fu n k , y o u p u n k . ' The c h o r u s m u l t i p l i e s i n to a m u l t i t r a c k e d s w a r m o f a l i e n s h e r e ' t o s a v e a d y i n g w o r l d from i t s fu n k l es s n e s s . ' L i k e t h e s p i c e t h e A t r e i d e s fa m i l y m i n e i n Dune, o r t h e w a t e r N e w t o n a r r i v e s t o h a rvest i n The Man Wh o Fell to Earth, fu n k re v i t a l i z e s . P ' F u n k i s t h e g l a d a l l o ver s u ffu s i o n o f Funken te/echy, t h e e n j o y m e n t o f m u t a t i o n . I n s t e a d o f re s i s t i n g a l i e n e x t ra c t i o n , d a n c i n g t u r n s i t i n to a g i ft , t u r n s o n to t h e j o y o f b e i n g a b d u c ted . Funken te/echy i s t h e p r o c e s s w h i c h d e m a n d s A b d u c t m e ! A b d u c t m e ! A s s o o n a s fu n k c o m e s fro m o f f t h i s w o r l d , i t co l l i d e s w i t h c o m m o n s e n s e . Possession by C a rtoon ' I w a s m e r e l y t h e v e s s e l f o r C a s p e r a n d B o o t z i l l a t o c o n s t r u c t t h e i r fu n k . ' B o o t s y C o l l i n s i s p o s s e s s e d by c a r t o o n s - a p h e n o m e n o n t h a t I s h m a e l Reed exp l a i n s , ' in which a host becomes a h u m a n radio for cosm i c forces . ' ' 7 8 ' s Hollywood Squares a n n o u n ces B o o t s y ' s a n i m a n i fe s t o : ' I ' v e got a cartoon m i n d . ' P'Funk is a consensual audioha l l ucination that

08[ 1 4 1 ] a l l ow s ' t h e m i n d t o e n t e r t h e w o r l d o f c a r t o o n s ' , a g l oo p y S o n i c F i c t i o n s u s t a i n e d a c r o s s c o n c e p t a l b u m s . E a c h r e c o r d i s a fra g m e n t fro m t h e world it auditions. Wh e n yo u m e e t m e a g a i n , I h o p e t h a t y o u h a ve b e e n t h e kin d o f p e r s o n , t h a t y o u r e a lly a r e n o w Sly and the Family Stone Advance Probe T h e M o t h e rs h i p i s a n a d v a n ce p r o b e s e n t a h e a d to a n t i c i p a t e n e w k i n a e s t h e t i c u n i v e r s e s . I n t h e fi n a l m i n u t e o f Mo thership Connection {Star Child] a M i n i M o o g s p a ce c h o r d s u s p e n d s t i m e . Trave l l i ng a l o n g a l i n e o f l i g h t , a l l s o u n d d r o p s o u t for a b e a t . T h i s fu n ky v a c u u m o n l y l a s t s a b l i n k b u t w h e n s o u n d r e t u r n s i t a r r i v e s from fa r o ff, from ' l i g h t y e a r s i n t i m e ' . The p s y c h o a co u s t i c s p a c e o f t h e t r a c k h a s i n ex p l i c a b l y a l te r e d , c r o s s e d a n e v e n t h o r i z o n i n l e s s t i m e t h a n i t t a k e s t o w i n k . L i ke t h e u n a c c o u n ta b l e h o u rs l o s t b y t h e a b d u c t e e , y o u ' re s o m ew h e r e a n d s o m e w h e n e l s e n o w . M e m o ry p l a y s w i th y o u , l e a v e s y o u b a ffl e d . P ' F u n k s p l i ee s t a p e s to m a ke y o u d o u b t y o u r m i n d . C o l l a p s i n g t h e s p a c e t i m e con t i n u u m f u n k s w i t h your recogn i t i o n processes. The sense o f b e i n g i n e x o r a b l y p u l l ed a l o n g b y t h e s i m m e r i n g b a c k b e a t b e c o m e s a r o c k a b y e m o t i o n w h i c h ' s w i n g s l o w ' . B e r n a rd W o r re l l ' s M i n i M o o g s y n t h s a r c a n d a s c e n d i n w i s t fu l , fo r l o r n f u g u e s . By e q u a l i z i n g i ts freq u e n c i e s to 1 kh z , S t a r C h i l d ' s v o i ce t h i n s o u t , c r o o n s d o w n a n i n t e r s te l l a r p h o n e l i ne , fa i n t l y, from l i g h t y e a r s a w a y . I t trave l s g i g a n t i c d i s ta n c e s , a r r i v i n g fro m t h e f u t u r e i n to ' 7 4 to b e c o m e t h e e n d o f the t r a c k : ' L i g h t y e a r s i n t i m e , a h e a d o f o u r t i m e / F ree y o u r m i n d , c o m e f l y , w i t h m e . ' T h e M i n i M o o g ' s a s tra l i ze d t ra i l s s y n t h e s i ze s e n s a t i o n s o f y ea r n i n g a n d w o n d e r . The s t a r s a re s o h i g h a n d y o u a r e s o s m a l l . S t a y a s y o u a r e . The A frona u t E m e r g e s from A n a c h r o n o s i s P ' F u n k ' s c o n n e c t i o n fo r w a r d i n t i m e to t h e M o t h e rs h i p a l l ow s a n e q u a l a n d o p p o s i te c o n n e c t i o n back i n t i m e to t h e P h a ra o n i c c o n n e c t i o n , b o t h o f w h i c h c o n ve r g e o n t h e p r e s e n t . T h e p y ra m i d s b e c o m e e x a m p l e s o f a n c i e n t a l i e n t e c h n o l ogy w h i c h t h e e x t r a t e r r e s t r i a l b r o t h e r s ' h a v e r e t u r n e d to c l a i m ' . F u n k b e c o m e s a s e c r e t s c i e n c e , a fo r g o t t e n tec h n o l ogy t h a t ' h a s b e e n h i d d e n u n t i l n o w ' . Th i s i n fo r m a t i o n i s b r o a d c a s t t o ' re c o r d i n g a n ge l s ' , E a r t h p e o p l e a n d a l l ' c i t i ze n s o f t h e

08[ 1 4 2 ) u n i v e r s e ' . I n Pa r l i a m e n t M y t h S c i e n c e , f u n k i s g e n e t i c e n g i n e e r i n g a n d p r e h i s t o r i c s c i e n c e : ' I n t h e d a y s o f t h e F u n ka p u s , t h e c o n c e p t o f s p ec i a l l y d e s i gn e d A fro n a u t s c a p a b l e o f fu n k a t i z i n g ga l a x i e s w a s f i r s t l a i d o n M a n c h i l d b u t w a s l a te r r e p o s s e s s e d a n d p l a c e d a m o n g t h e p y ra m i d s , u n t i l a m o re p o s i t i v e a t t i t u d e t o w a r d s t h i s m o s t s a c r e d p h e n o m e n o n - c l o n e fu n k - c o u l d be a c q u i re d . ' C l o n i n g fu n k i n t h e 7 0 s r e a c t i v a t e s a n a r c h a i c s c i e n c e . The fu t u r i s t i c fee d s fo r w a r d i n t o t h e a n a c h r o n i c fu t u r e p a s t s o f A t l a n t i s a n d E gy p t . The A fro n a u t s p a c e p r o g r a m i s l a u n c h e d b y a n a r r a t i o n s h i ft e d d o w n i n t o t h r e a te n i n g p i t c h : ' T h e r e i n t h e s e t e r r e s t r i a l p r oj e c t s , i t w o u l d wa i t a l o n g w i t h i t s c o i n h a b i ta n t s o f K i n g s a n d P h a r a o h s l i ke s l e e p i n g be a u t i e s f o r t h e k i s s t h a t w o u l d r e l e a s e t h e m to m u l t i p l y i n t h e i m a ge o f t h e Chosen One . ' O v e r t h row t h e C o o l E a c h t r a c k i s a n a u d i o u n i v e r s e , fro m w h i c h P h o n o f i c t i o n s e m e rg e . O n t h e fro n t c o v e r o f ' 7 7 ' s Funken telechy v s . the Pla cebo Syn drom e, S t a r C h i l d c r o u c h e s a ga i n s t the s t a r s , z a p p i n g the ' s u p e r c o o l o h so u n fu n ky ' S i r N o s e w i th h i s B o p G u n . S o n o t ro n i c p o w e r f l o w e r s in a r o s e ­ red e f f l o r e s c e n c e . O n t h e b a c k c o v e r o f Funken te/echy, S i r N o s e i s l u v ' d u p , s a t u ra t e d i n t h e red l i g h t o f t h e f l a s h - fu n k r h y t h m s . The f l a s h l i g h t zapp ! m e l t s h i s s upercool psych ic armour, un t i l he loses i t , starts gurn ing as t h e spasms s e e p i n . H i s j a c ket s h u c k s i t s e l f o ff h i m , s h i r t l o o s e n i n g , a n d n e x t t h i n g h e ' s d a n c i n g , t r i l b y r e p l a c e d by v i s o r a n d a fr o n a u t p u ffs : ' A n d i n a f l a s h o f I i g h t , S i r N o s e g i v e s u p t h e fu n k . ' F u n k i s M u t a t i o n P o s i t i v e . To be z a p p e d by t h e e n ergy of t h e fl a s h l i g h t i s t o b a t h e i n t h e freakwe n c i e s o f m u t a t i o n , t h e fu n k fl a s h e n e rgy e m i t t e d b y t h e B o p G u n , t h e s o n i c w e a p o n . T h e r e fo r e C o o l i m m e d i a t e l y b e c o m e s r i d i c u l o u s , r i g i d i fi e d , d e v o i d o ffu n k . A s t h e a l i e n p e r s o n i fi c a t i o n o f u n fu n k i n e s s , S i r N o i s e m a ke s C o o l a u d i b l e . I n t h e Pa r l i a m e n t u n i v e r s e , C o o l i s a l wa y s d e r i d e d , h a r a s s e d a n d h a r r i e d i n to g i v i n g i t u p , s u r r e n d e r i n g t h e fo r c e . T h e r e fo r e S t a r C h i l d d e l i v e r s a dik ta t o n c o o l , p u t s o u t a n A P B on S i r N o s e . A s Ben S i d r a n exp l a i n s , Cool opera tes by d e t a c h m e n t , by ' t he active r e p r es s i o n o f e m o t i o n a l t u r b u l e n c e . ' A s a n e m o t i o n a l a n a e s t h e t i c , c o o l c r o w n s t h e h e a d k i n g o f a b o d y orga n i zed i n to a p o i s e d c o r p o ra t i o n o f o n e . S t a r C h i l d w h e e d l e s , t ea s i n g , i n s i n u a t i n g : ' P i c t u r e w i t h i n a p i c t u r e b e h i n d a p i c t u r e / Revea l i n g a n o s e I recogn i z e / C o m e o n n o w S i r N o s e ,

08[ 1 4 3 ] d a n c e . ' Pa r l i a m e n t o v e r t h rows c o o l , d e t h r o n e s i t t o i n s ta l l fu n k i n s i d e a m i x a d e l i cs o f p e r p e t u a l m u t a t i o n . A c r o s s t h e M o t h e rs h i p C o n n e c t i o n c o n c e p t - a l b u m c y c l e - ' 7 5 ' s Mo thership Conn ec tion , ' 7 6 ' s The Clon es o f D r Funkenstein, ' 7 7 ' s Funken telechy vs. th e Pla cebo Syndrome, ' 7 8 ' s Motor-Bo o ty A ffair, ' 7 9 ' s Gloryha llas toopid {Pin the Ta il o n th e Funky/ a n d ' 8 o ' s Trombipula tion - S t a r C h i l d h a ra n g u e s S i r N o s e i n a d u e l o f f u n k v s c o o l . W h e r e S t a r C h i l d i s s i n i s te r a n d i n s i d i o u s , S i r N o s e i s m a n i c a n d m o u r n fu l , a m u n c h k i n a t t h e m e r c y o f m i x a d e l i a w h o t h e refore m a kes u n fu n k i n e s s a l l t h e m o r e a p p e a l i n g . In t h e P a r l i a m e n t c o s m o s , F u n k h u m i l i a t es c o o l a s o ft e n a s i t c a n , d e r i d i n g i t a s d e vo i d o ffu n k . S i r N o s e i s a l l a u d i o t ro n i c , n o t h u m a n a t a l l b u t i n fr a h u m a n , a n i m a ted p h o n o m a t t e r , a g i g g l i n g g r e m l i n i n p e r p e t u a l m o t i o n o f g i d d i n e s s a n d g l i tc h , a g l y p h t ra n s m i t t e d fro m t h e e l e c t ro n i c e p i g l o t t i s o f t h e v o c o d e r : ' I a m S i r N o s e D e e V o i d o f fu n k . I h a v e a l ways b e e n d e e e vo i d ovv fu n k . I s h a l l c o n t i n u u u r h h to bee d e e v o i d ov f u n k . ' The v o c o d e r g e n e r a t e s a m e n a g e r i e o f m a c h i n e v o i c e s , n o n h u m a n subjects. These v o ices aren ' t a n e m p a t h e t i c o r robo t i c . R a t h e r t h e y a r e d i s co n ce r t i n g l y o r a l , l a ry n x m a c h i n e s , s y n t h e t i c p h a ry n x e s t h a t s t r e t c h t h e vowe l s i n to p l a s t i c . S i r N o s e d e c l a re s i t s e l f ' t h e s u b l i m i n a A A I s e d ue a H H ' w h o ' w i l l n e v e r d a n c e . ' I t s v o i c e m o d u l a t e s i n to F u M a n c h u t r e m o l o , t r i p l e s p e e d s i n to 3 v o i ces g a b b l i n g a l l a t o n c e , p i tc h s h i ft e r s t ra n s m i t t i n g t h r o u g h S i r N o s e i n a c o r p o r a t i o n o f o n e . I t ' s a p e r v e r s e imp, a syntactic ripple, a n audio id, a m icrophone fiend. C E 3 K : E a rw o r m o f t h e T h i r d K i n d U n l i ke K u b r i c k ' s l u m i n o u s u t e ro n a u t i n 2001, Pa r l i a m e n t ' s S t a r C h i l d , t h e P r o t e c t o r o f t h e P l e a s u r e P ri n c i p l e , D r F u n ke n s t e i n ' s e m i s s a r y , i s d i s c o n c e r t i n g l y c r e e p y . F a r f r o m b e i n g a b o d y -e n h a n c i n g , l i fe - a ffi r m i n g s o u n d t r a c k fo r y o u n g s o u l r e b e l s , ' 7 4 - ' 7 7 e r a P N F u n k i s u n d e r h a n d a n d insi nuati ng, snide, contemptuous. Star Child has a gloating, u l t r a p h o n o g e n i c v o i c e , m i ked so t h a t i t ' s a lw a y s i n t i m a t e , t a c t i l e . S t a r C h i l d i s n ' t s o m u c h a m i c r o p h o n e f i e n d a s a n ea rwo r m , a n a l i e n o h r w u r m , a n a u d i o - i n s i n u a t i o n t h a t s e e p s i n to t h e e a r s a n d t a p s o u t m n e m o n i c s on i ts d r u m s . I t s m i rks, sa ted - because as s o o n a s y o u d r o p t h e n ee d l e o n t h e t r a c k , y o u ' re i n i t s d o m a i n . N o w y o u ' re t h e r e i t ' s ' d o i n g i t to y o u i n y o u r e a r h o l e ' . I t ' s t a l ked y o u i n to l e t t i n g i t m o l e s t y o u r s e n s o r i u m . T h e P N F u n k a l i e n i n v a g i n a tes t h e e a r a n d grows a u n i ve r s e i n s i d e y o u r b ra i n . S t a r Child is the tapeworm, the subl i m i n ator burrowing through the

08[ 144] ve s t i b u l a e , i t s p r o b i n g h e a d p r o t ru d i n g i n to t h e t y m p a n u m i n d u c i n g w h a t E n o c a l l s a q u e a s y p h y s i c a l fee l i n g . S t a r C h i l d s i n g s n u rs e r y r h y m e s , m e m e s t h a t b u r r o w fa m i l i a r r o u t e s i n to t h e b ra i n , Troj a n h o r s e s , p a t h w a y s u s e d t o i n f i l t r a t e t h e p e r c e p t u a l a p p a r a t u s . O n Sir Nose t h e c h o r u s s i n g s n o n s e n s e r h y m e s o f ' T h r e e e b l i n d m i c e , T h o s e b l i n d t h reee m i c e ' w i t h a p ed a n t i c p r ec i s i o n , stretching out the vowels with an operatica l l y preposterous seriousness. I wan n a b e yo u r toy, W-w- w- w - w - wi n d m e up, I ' m your r h in e s t o n e doll, O h ye a h , I ' m p r o g ra m m a b u b b l e Ya b a da b a d a b a d o o o b u b b a 8ootsy Collins P h o n o Se d u c t i o n T h e n u rs e ry r h y m e s l i p s a n d s n e a ks p a s t t h e e a r , as y o u r a t t e n t i o n s l eeps l i ke a dog. P#funk i s s u b l i m i n a l PhonoSed ucti o n . I t creeps in u n d e r t h e c o v e r o f n o n s e n s e , r e a r r a n g e s t h e fu r n i t u r e o f y o u r m i n d , l e a v i n g y o u fee l i n g p r o b e d a n d p a l p i ta t e d . P • F u n k fee l s u p y o u r b ra i n , m o l e s t s y o u r m e d u l l a . C l i n t o n ' s a l a r m i n g c o m p u l s i o n t o p u n , t o ' fu n k w i th y o u r m i n d ' e r o ge n i ze s t h e b ra i n . T h e p u n p i n c h e s t h e c h u b b y cheeks of the cortex. The c l o n eb r i d e c h o r u s d o es n ' t s i ng , i t d e r i d e s : ' H a v e y o u e v e r s e e n s u c h a s i g h t i n y o u r l i fe a s t h e s e 3 b l i n d m i ce ? ' E q u a l i z i n g t h e b a s s c o nv u l s e s t h e a u d i o u n i v e r s e , a s i f t h e e n t i re t r a c k i s a b o u t to t h r o w u p . A d e c e l e r a t e d l a u g h i n g b o x c r o a k s d e r i s i v e l y a t y o u r d i s c o m fo r t a s v o i ces s n eer m o re r h y m e s .

08[ 1 4 5 ) you are a p r o g ra m m e d t a p e r e c o r d e r s e t t o r e c o r d a n d p lay b a ck wh o p r o g r a m s y o u wh o d e c i d e s wh a t t ap e s p lay b a ck i n p re s e n t tim e William Burroughs M e t a fo o l i s h M e t a p r o g ra m m i n g N u rsery r h y m e s r e a c h e s ' a p a r t o f t h e i r m i n d t h a t m a kes t h e m re l a t e ' , a s F u n k a d e l i c g u i t a r i s t R a y D a v i s p o i n t s o u t . They regress y o u i n to B o o t s y Col l i ns ' psychoticbu mpschoo l , encrypting m a l evolence inside i n n o c u o u s n e s s . T h e n u rs e r y r h y m e i s a l wa y s ' g a m i n g o n y a ' a n d ' l a u g h i n g a t y a ' . O n F u n ka d e l i c ' s ' 7 6 Undisco Kidd, t h e l a ug h i n g box a u to r e p e a t s , g i v i n g C l i n to n m o re f r e e t i m e t o s n e e r a t you i n cred u l o u s l y b e c a u s e you ' re t h e m u g s u c ke r e d i n t o p a y i n g a t t e n t i o n . The n u rs e r y r h y m e i s t h e Troj a n h o r s e , t h e l u re w h i c h l u l l s y o u a s a n o t h e r m e d i u m i n f i l t r a t e s y o u . ' Pa y a t t e n t i o n b e c a u s e y o u c a n ' t a ffo rd f r e e s p e e c h ' : t h i s p u n c o n d e n s e s t h e i l l og i c o f t h e c o m m u n i c a t i o n s l a n d s c a p e , i n w h i c h s i g n a l s y s t e m s p a y f o r y o u r a t t e n t i o n s p a n , c o m p e t e t o r e n t o u t y o u r p e r ce p t i o n . T h e s u b l i m i n a l a d gets free space i n your head by riding on the back o f another ad. The Pa r l i a m en t a ry u n i v e r s e i s freq u e n t l y c h i d e d for i t s s y s t e m a t i c s i l l i n e s s , i t s b l a t a n t i m p o ss i b i l i t i e s , i t s e l a b o ra t e l y p r e p o s t e r o u s foo l i s h n e s s - s o fa r r e m o v e d f r o m t h e rea l i ty o f c r i m e f i g u r e s a n d p r i s o n s t a t i s t i c s . . B u t f i c t i o n a l i z e d f u n k o n l y m a kes m e a n d y o u i n t o b i gg e r fo o l s , i n to m e t a fo o l s for l i s t e n i n g . M e t a fo o l i s h n e s s i s t h e s u d d e n a w a r e n e s s o f t h e fra m e y o u ' r e i n , t h e b l i nd i n g rea l i z a t i o n o f t h e g a m e y o u ' re i n , g a m e s s e t u p t o p l a y y o u f o r a foo l . C l i n t o n t e r m s t h e s e g a m e s d o o - l o o p s , t h e i t e ra t i v e p r o c e s s e s t h a t m a i n t a i n con s e n s u a l ha l l ucination. Because tapeloops form the basis o f m ixadel i c sound, C l i n t o n a b s t r a c t s t h i s s t u d i o t e c h n i q u e , t h i s t e c h n i c a l m a c h i n e , i n to a m e n t a l m a c h i n e , a c o n ce p t e c h n i c s t h a t s w i t c h e s o n t h e s o c i a l m a c h i n e s w h i c h g e n e r a t e t h e ' o p e r a t i v e s i g n a l s d i re c t i n g m o d e r n l i fe ' . T h e w o r l d i s a rea l i ty s t u d i o w h e r e a l l t h e t a p e s r u n a l l t h e t i m e , d o - t h i s < > d o - t h a t l o o p s i n t e r n a l i ze d b y h u m a n s a s t r a d i t i o n . A c ce l e r a t i n g t h e v o i c e i n t o a n e l fi n g i g g l e c o u c h e s a p h o r i s m i n s i d e b a b b l e . M e t a fu n k i s a t i ts m o s t s e r i o u s w h e n i t ' s f u n n i e s t . I n a w o r l d ' ov e r b u r d e n e d w i t h l o g i c ' s t u p i d i ty b e c o m e s ' a p o s i t i ve fo r c e , a c r e a t i v e n u i s a n ce . ' M e t a fu n k l e t s y o u h e a r t h a t ' y o u ' r e d e s t i n e [ d ] t o d o o l o o p ! l i ke a c o m p u te r w i t h a n e r v o u s b r e a k d o w n ] . ' C a u g h t u p i n t h e c h a i n rea c t i o n o f e v e n t s t h a t ca l l s i t s e l f h i s to r y , m e t a foo l i s h n e s s h i p s y o u to h o w t h e

08[ 1 4 6 ) h u m a n b i o c o m p u t e r m e t a p rogra m s i ts e l f. To o p e n t h e i n fi n i te re c u r s i o n o f j o h n L i l y ' s m e t a p ro gr a m m i n g i s to regress j u s t l i ke a b a by. Funk r e v e r t s back t o c h i l d h o o d , b e c a u s e t h a t ' s w h e n t h e m e t a p ro g r a m s b e c o m e o p e r a t i o n a l . I n t h e d i s c o n c e r t i n g ' 7 2 Running A wa y, S l y S t o n e b e c o m e s a p s y c h o t i c b a b y c r oo n i n g : ' Lo o k a t y o u fo o l i n g y o u . ' F u n k a d e l i c d r a w l ' H ow d o Yeaw v i ew Y o u ? ' t h e s e c o n d ' Yo u ' b e i n g y a w n e d u n t i l i t r h y m e s w i t h ' m i a o - www ' . L o o k i n t h e a c o u s t i c m i rr o r : P ' F u n k i s l a u g h i n g a t y a . H o w e a s i l y y o u r s e n s o r i u m i s p r i v a t i zed ! Yo u ' v e l e a s e d y o u r n e r v o u s s y s t e m to t h e l ow e s t b i d d e r ! G i v i n g a w a y y o u r e a r s a n d e y e s , s k i n a n d n o s e o n t h e o p e n m a rk e t . Mixadelics Fictionalizes Funk D r F u n k e n s t e i n t a ke s fu n k fo r w a r d t o t h e l a b . The l a b i s t h e p o s s i b i l i t y s p a c e w h e r e fu n k i s s y n t h e s i ze d i n t o n e w g e n e t i c l i fefor m s . I n t h e m a d science of the studio, m i xadelics is science gone g l a d . F u n k i s e x t r a t e r re s t r i a l i z e d t h r o u g h t h e m i x i n g d e s k . T h r o u g h m u l t i t r a c k i n g , revers i n g , e q u a l i z i n g , s l ow i n g d o w n , s p e e d i n g u p , d o u b l e b a c kw a r d s t a p e l o o p s , i t b e c o m e s w h a t C l i n to n o n t h e b a c k s l eeve o f ' 7 9 ' s Gloryhal/astoopid ca l l s m i x a d e l i c s . C l i n t o n ' s c o n c e p t o f m i x a d e l i c s m e a n s t h e p s y c h ed e l i c s o f t h e m i x : t h e e n t i re r a n g e o f s o n i c m u t a t i o n t h r o u g h s t u d i o e f fe c t s . M i xa d e l i c s m a k e s fu n k fi c t i o n a l , d ra w s y o u i n t o a n o ffwo r l d u n i ve r s e , a w o r l d o f loops where loopzi l las, bootzi l l a s and atom i c dogs h u n t i n packs that ' r e a l l y d o g y o u ' , i n P r i n c e Pa u l ' s w o r d s . Ta p e t e c h n i q u e s c r e a t e n ew s o u n d s , w h i c h a r e f i c t i o n a l i ze d i n t o a u d i o - l i fe fo r m s , b r e d by r e i t e r a t i o n l i ke t h e h o r n w e b s o f M u t a t o r s o ft w a r e . The F u n k e n s t e i n v o i c e i s fi l tered u n t i l i t b e c o m e s a f l u x ' b u r n i ng, c h u r n i n g a n d t u r n i ng ' a l o n g t h e s e n so r i a l s p e c t r u m between m a d a n d g l a d . A s n i cker i n g , sped - u p gre m l i n v o i c e m ocks F u n k e n s t e i n i n to ' b u r n i n g you o n y o u r n e u t r o n , e x p a n d i n g y o u r m o l e c u l e s ' u n t i l t h e v o i c e breaks through i n to hyster i c a l babble. Babble i s the v o i c e p l u nged i n to voca l i z a t i o n . p h o n o b u b b l e s w i t h o u t a n o bj e c t , b u r s t i n g i n c a u s e l e s s e x u b e r a n c e . Funk is a P*harmatopia I n '77's encyc l o p a e d i c c o n c e p t a l b u m Funken te/ech y, fu n k i s s y n t h e s i zed into a p ' h a r m a t o p i a , t h e u n i v e rs a l product d r u g . The e n t i re a l b u m i s set i n s i d e t h e American consumer s e n s or i u m , drawing y o u i n s i d e its m o n s t r o u s p u l s a t i o n s , m a gn i fy i n g t h e mass mind m a n u fa c t u r e d by m e d i a . T h e P i n P • F u n k s t a n d s fo r p • h a r m a - c o n , p • l a c e b o , p • a n a c e a . F u n k i s a n

08[ 147) o m n i c o m m o d i ty a d a p t e d by a d v e r t i s i n g i n o r d e r t o feed o n m o re m e d i a . Funken te/echy i s a p r o d u c t t e s t e d o n y o u , a n e x p e r i m e n t i n a l te r i n g l i s t e n e r r e s p o n s e t r a p p i n g y o u i n s i d e t h e d o u b l e b i n d o f ' u rge o v e r k i l l ' : ' Th i s i s M o o d d e C o n t r o l u r g i n g y o u t o fu n k o n . D o n o t res p o n d . T h i s h a s b e e n a te s t . ' T h e T r a d r e s p o n s e t o Pa r l i a m e n t i n t h e U K e v e r s i n c e - t h e 2 o r 3 t h i n g s y o u k n o w a b o u t C l i n t o n , O n e Na tion Un der e t c , Who says a Funk Band Can 't Play R o ck Music ?, Free Your Mind and Yo ur Ass Will Follo w, fa i t h fu l l y r e p e a t e d a d n a useam - i n d i ca te s M o o d C o n t ro l ' s t o t a l s u cc e s s i n r e p r o g r a m m i n g o f t h e h u m a n b i o c o m p u te r , t h e d i s t r i b u ted brain o f b i o - l og i c a l c o m p l e x i ty . Pa r l i a m e n t s e l l s y o u t o t h e p r o d u c t : t h e h a p p y f a n i s a h u m a n t a p e re c o r d e r, t h a t h a p p i l y r e p l a y s t h e s e s a m e s l o g a n s f o r e v e r . T h e F u n k P ' r o g r a m u s e s t h e s e fa n s t o r e p l i c a te i t s e l f a c r o s s t h e m e d i a s c a p e . T h e P i n P ' F u n k s t a n d s fo r P • s y c h o a co u s t i c , fo r a fu n k w h i c h t a k e s y o u t h r o u g h a s p e c t r u m o f m o o d s . ' Fa s t e n y o u r s e a t b e l t w h i l e I t a ke y o u f a c e t o f a c e w i t h t h e n o s i e s t c o m p u t e r I k n o w . ' H e r e P 1 F u n k o p e r a t e s a s a p s y c h o d y n a m i c p r o g r a m , a s e n s o r y a p p a ra t u s o f d i s c o n c e r t i n g h y p e r t a c t i l i ty . D o t h o u g h t s of yo u make y o u h ig h o r s h y ? Funkadelic: Mood E l ev a t o r F u n k i s a t h e r m o s t a t i c d e v i c e t h a t a l t e r s e n v i r o n m e n t s . I n Funken te/echy the s i n g e r b e c o m e s a v o i c e o v e r . H u m a n s a re r e p l a ced w i t h A d v e rt i s i n g D e i t i e s : M o o d d e C o n t r o l a n d M r P r o l o n g . A v o i c e o v e r c aj o l e s : ' M oo d M o o d , S o m e o n e fu n k i n g u p t h e m o o d . ' F u n k i s a m o o d e l ev a t o r t h a t a l te r s t h e e n v i r o n m e n t t h r o u g h w h i c h y o u m o v e . W i t h t h e r i g h t s e n s o ry t e c h ,. M c l u h a n d r e a m e d t h a t ' w h o l e c u l t u res c o u l d n o w be p r o g r a m m e d t o k e e p t h e i r e m o t i o n a l c l i m a te s t a b l e . ' F u n k i s t h i s t ec h n o l o g y , a n A p p l i e d R h y t h m i c Tec h n o l ogy, a n A RT t h a t a m p l i fi e s c y b e r n e t i c d e s p o t i s m u n t i l i t p r o g r a m s rea l i t y . A s a M o o d C o n t ro l , fu n k i s a n a u d i o s o c i a l i n te r fa c e w h i c h r e a c h e s inside you and m a ssages your heart, kneads i t into a sodden muscle that l u rc h e s w h i l e y o u r s t o m a c h s k i p s a b e a t : ' S o m e o n e ' s t a l k i n g , fu n k i n g w i t h t h e M o o d C o n t ro l . ' A t ' M oo d C o n t ro l ' , t h e t e m p o d o u b l es i n s p e e d a n d r e a r s u p t o h u g y o u r fa c e . E O i n g m a kes v o i c e s c o m e d o w n t e l e p h o n e l i n e s ; c o n v e r s e l y i t m a kes

08[ 1 4 8 ) s o u n d s j u m p o u t a t y o u , b r i n g s v o i c es a n d u n p l a c e a b l e t h i n g s d i s c o n c e r t i n g l y fa c e - t o - fa c e . A v o i ceover s t a r t s o u t t r e b l y - ' D e p r o g r a m ' - t h e n s l ow s d o w n t o b a s s d r a w l : ' A n d r e p rogra a a a m . B e t w e e n · ' D e p r o g ra m ' a n d ' Re p ro g r a m ' , t i m e c r u m p l es u p a n d t h e s e c o n d c o m m a n d l u n g e s a t y o u , p u n c h i n g y o u i n t h e fa c e , d e f e n c e l e s s f r o m t h e fx o f s o u n d . S o n g l i n e s o f t h e S p o n s o r e d Wo r l d F u n k b e c o m e s a m a s s - m e d i a e p i c o f r h y t h m a rr a n ge m e n t s , h o r n o r c h e s t r a t i o n , o p e ra t i c t a p e l o o p s , c h o r a l i n te r r u p t i o n s , a l l o r g a n i z e d a c c o r d i n g to t h e o v e r l a p p i n g r h y t h m s o f t h e s p o n s o red w o r l d o f a d v e r t overload and gameshow routine. Drums are processed into s h i m mering c y m b a l l i c s c i n t i l l a ; h i h a t h i s s b e c o m e s a s p l a s h s t r e t c h e d o u t. i n t o t h i n w i res o f s i m m e r i n g d e p re s s i o n . M i x a d e l i c s m u l t i p l i e s t h e Pa r l i a m e n t c h o r u s i n t o a c h o i r o f c l o n e s , o f opera tic womanmachines, the Brides, the Extra Singing C lones of Funkenste i n . The chorus i s loop d ' looped until i t scales between a l i e n a n d h u m a n , s l i p s a c ro s s t h e v a l u e s l i d e . T h e y l i q u e fy t h e s o l i d s t a t es o f s e n s e a n d n o n s e n s e , i n t o n i n g s e n t e n c e s t h a t s t a r t a s b a b b l e , reverse i n to g i b b e r i s h t h e n m od u l a te i n to b a s s o p r o fu n d o . V o i c e s r e v e r s e i n t o a h u m a n r i v e r of h e a v i n g g r o a n s . c r o w d b a b b l e a n d b r e a k i n g s u r f. I n a n a u d i o p a r a l l e l o f a t i m e l a p s e d flower's bursting stamen, the C l ones loom u p out of the reversed sound i n t o a s p e d - u p n u rs e r y r h y m e n o t s o m u c h s u n g a s l ec t u r e d s o i n s i s t e n t l y y o u fe e l l i ke s a l u t i n g . T h e C o n s u m e r P a n t h e o n o f A d v e rt i s i n g D e i t i e s M o o d Control does n ' t s i n g because i t ' s n o t h um a n presence. As a n A d v e rt i s i n g D e i ty i t b e a m s . b r i m s o v e r w i t h a n i n h u m a n b o n h o m i e . The Song d i s te n d s into an p s y c h o fa n a t i c o p e r a o f c o u n t e rp u n c h l i n es o r c h e s t ra t ed from the i n fo s p h e r e : ' A fu n k a day keeps t h e nose h a i rs a w a y . N a m e t h a t fee l i n g ! ' The v o i c e o v e r d o e s n ' t rec i t e . I n s t e a d , i t l i g h t s u p i ts w o r d s i n n e o n , e n e rg i z i n g every t h i n g w i t h u r g e n t C A P I TA L S r i v e t i n g y o u r e a rs u n t i l y o u ' r e s t a r i n g a t t h e s o u n d : ' T h e s e c r e t to fu n k i s to pay attention . ' V o i c e o v e r s reo rga n i ze T h e S o n g i n t o a m i xa d e l i c a r r a n g e m e n t o f s p o n s o r e d s l o g a n s a n d o p e ra t i c o n e l i n e r s . o f e m p h a t i c e n co m i u m s a n d c o r p o r a t e k i s s o ffs : ' T h e r e ' s n o t h i n g t h a t fu n k w i l l n o t r e n d e r fu n ka b l e . ' T h e c o r p o r a t e h o s t b r i n g s t h e p e r m a n e n t l y good n e w s , a p e r pe t u a l

08[ 1 4 9 ] b r i g h t ' n ' b r e ez i n e s s : ' Y o u d e s e r v e a b r e a k t o d a y ! H a v e i t y o u r w a y . Wh i l e fu n k i s n o t d o m e s t i c a l l y p r o d u c e d i t i s r es p o n s i ve t o y o u r m o o d , y o u c a n s c o r e i t a n y d a y o n W E FU N K . ' E x t r e m e L e v e l s o f R u d i oVi s u a l i z a t i o n A Pa r l i a m e n t a l b u m i s a n o r c h e s t r a i n w h i c h s t r i n g s e c t i o n s a r e r e p l a c e d b y r h y t h m a r r a n ge m e n t s a n d h o r n a r r a n g e m e n t s . A s C l i n t o n e x p l a i n s ' Ev e ry t h i n g w a s s t a c ked b u t s e p a ra t e beca u s e i t w o u l d m o v e o u t t h e w a y o f e a c h o t h e r j u s t i n t i m e . We s t a c k e d i t o n t o p o f e a c h o t h e r a n d m a d e p o i n ts a n d c o u n t e r po i n ts . ' F u n k b e c o m e s m o b i l e a u d i o a r c h i te c t u r e , t h e s i m u l ta n e o u s s l i d i n g o f r h y th m i c s t r a t a . M u s i c i a n s l i ke B e r n i e W o r re l l , F r e d We s l e y , B o o t s y C o l l i n s a n d M i c h a e l H a m p t o n a r e a l l v i rt u o s o s - b u t C l i n t o n , l i ke B r o w n , i s n o t a m u s i c i a n s o m u c h a s a c o n c e p t u a l i ze r , a h i g h - d e n s i ty n e o l o g i s t . N o t p l a y i ng i n s tr u m e n t s i s a g o o d p r e c o n d i t i o n f o r d e r e a l i z i n g m u s i c i n to i m p o s s i b l e s t a t e s . W h e r e B r o w n h e a r s f u n k a s t h i s c yc l i c m a c h i n e w h o s e t e n s o r s c a p t u r e s t h e b o d y a n d l o c k i t i n to p e r p e t u a l m o t i o n i n to t h e g r o o v e y - C l i n t o n ' s t h e c o n c e p t u a l i ze r , t h e i m a g i n e e r , t h e u n i ve r s e d e s i g n e r , t h e t e r ra n o v a t i o n i s t w h o s e s t u d i o fi c t i o n s a r e o p e r a t e d b y s u c h a n i m a to g r a p h e r s a s W o r re l l a n d C o l l i n s . Psych o k i n a e s t h e t i c s o f t h e L o w E n d B o o t s y ' s M u tr o n - p ro c e s s e d S p a c e B a s s a n d W o r re l l ' s M o o g a n d A r p s y n t h s a r e p s y c h o k i n a e s t h e t i c . S o u n d s n a t c h e s y o u i n t o t h e s k i n y o u ' re i n , a b d u cts y o u i n t o y o u r o w n b o d y , a c t i v a t e s t h e b i o - l og i c o f t h o u g h t , e n c o u r a g e s y o u r o r g a n s to revo l t f r o m h i er a r c h y . M u tr o n i c b a s s c h a r m s y o u r s t o m a c h i n to a d u e t , t u g s a t y o u r h i p s , h u m p s y o u r a s s i n a s e i s m i c b u m p . I t h e a v e s i n a p e r i s ta l t i c m o t i o n , l i ke t h e a m p l i fi e d i n s i d e s o f a g i a n t s t o m a c h . Worre l l ' s M o o g s y n t h i s a n t e n ta c u l a r t re b l e t h a t ' s a l l s l i d e a n d n o b a c k b o n e , n o a t t a c k s a n d n o d e l a y s . W o r re l l u s e s t h e M o d u l a t i o n w h e e l o n t h e A R P s y n t h - s e t a t o b o e a n d c l a r i n e t - to s y n t h e s i z e a fu n ky w o r m from t r e m o l o a s t h i n a s c h e e s e w i r e . B y m u t a t i n g t h e l o w e n d , fu n k i nv a d e s p e rce p t i o n s , c a p t u r i n g t h e s e n s o r i u m b y a l te r i n g t h e o r d e r o f y o u r o r g a n s w h i l e t h e y ' re s t i l l i n s i d e y o u . I n s t e a d o f a n c h o r i n g t h e t r a c k t o t h e h e a rt b e a t , b a s s m u t a t i o n k n e a d s d i s p e r s i n g t r e m o r s a c r o s s t h e b o d y s u r fa c e , s o t h a t t h e s k i n t u r n s i n to a g i a n t , p a l p i ta t i n g , c o n v u l s i n g h e a r t . T h i s i n d u c e s a q u e a s y m o t i o n s ickness, as i f the carpet's u n d u l ating underneath you. M u t a n t b a s s d i s s o l ve s t h e r i g i d i ty o f h i p n e s s , co l l a p s e s t h e d i s ta n c e

08[ 1 50 ] t h a t Cool demands. A s a homeopa thic agent, ' F u n k n o t o n l y moves, i t c a n r e m o v e ' t h e s e n s a t i o n s o f fee l i n g wa l l e d - i n , c l o s e d - u p , c a s e d i n a r m o u r. I t s q u i r m s l i ke a t a p e w o r m , h e a v i n g a n d c o n t ra c t i n g a l o n g y o u r i n t es t i n e s . I t ' s a b a s s n ake t h a t u n d u l a t e s t h e i n e r t a b d o m e n a n d p e l v i s i n S waves, snakemotions that sidewind a l ong the thighs. A s S l y b a s s m a n L a r ry G r a h a m ex p l a i n s , "' I ' m g o n n a a d d s o m e b o t t o m so that the d a n c i n g j u s t d o n ' t end, " and then my fuzztone came i n . See, m y fuzz t o n e i s a l i t t l e b o x y o u s t e p o n . I t ' s a d i s t o r t i o n b o x y ' kn ow . ' I n s t e a d o f a n i n e r t l u m p o f b a s s , G r a h a m ' s fuzz b a s s d i s t o r t s t h e l ow e n d so i t p o w e r s i n t o t h e l e a d s o u n d , c a r e e r i n g u p from u n d e r i n h u m p b a c kb e a t s , m e l o d i e s from t h e b o t t o m w h i c h b u m ps t a r t t h e a rs e u n t i l i t b eg i n s e vo l v i n g i n to t h e a s s a n d t h e n t h e b o o t y . W i t h S l y a n d t h e Fa m i l y S t o n e , t h e b a s s d e e p e n s t h r o u g h d i s to r t i o n a n d s t a r t s ro a m i ng a r o u n d as l o w e n d r h y t h m e l o d y . Wh a t c h a g o n n a do wi th o u t yo u r a s s ? Sun Ra S c r a m b l e t h e H u m a n S e c u r i t y Sys t e m Th i s r ev e r s a l o f s o u n d , i n w h i c h t h e b a s s t a k e s o v e r from t h e g u i t a r s o t h e l o w e n d p l a y s t h e h i gh e n d , i m m e d i a t e l y a l t e r s t h e s e n s o r i a l h i e r a r c h y d e m a n d e d by T h e P o p S o n g . T h e a s s , t h e b r a i n a n d t h e s p i n e a l l c h a n ge p l a c e s . The a s s e m erges fro m i t s s t a t u s a s s e n s o r y u n to u c h a b l e t o b e c o m e t h e m o t o r - boo ty, t h e p s y c h o m o t o r d r i v i n g y o u t o d a n ce . The C l i n to n i a n b ra i n puns c om p u l s i ve l y, i s s u e s a n a l a r m i n g l og o r r h oe a . B o o t s y ' s b a s s a c t i v a t e s t h e d i s t r i b u t ed b ra i n o f t h e b o d y . T h e a s s s t o p s b e i n g t h e b e h i n d , a n d m oves u p fr o n t t o b e c o m e b o o t y . F u n k , r e o r ga n i z i n g t h e s h a p e o f T h e S o n g i n s p a c e , u n n e r v e s t h e bodyshape presumed by Pop. It exaggerates all your extrem ities. E x t r a t e r r e s t r i a l fu n k a l t e r s i t s a l i e n s a t t h e i r o u te r e x t r e m e s o f a s s , n o s e a n d t r u n k . Pa r l i a m e n t i s fu l l o f d e s p e r a t e w a r n i n g s a ga i n s t d i sc o ' s s u pe r i o r c l o n i n g c a p a c i t i e s , p r o c e s s e s w h i c h l e a v e y o u f u n k l e s s , s n a tc h y o u r b o o t y . O n ' 7 9 ' s Gloryhallastoopid, t h e C l i n to n i a n reve r s a l r e a c h e s r u n a w a y p o i n t . T h e b o o t y c o m e s a l i v e , m a ke s i t s e s c a p e from t h e r e s t o f t h e b o d y , i s s u r gi c a l l y a m p u ta ted i n a n a s s e n d e c t o m y , re p l a ced b y p r o s t h e t i c s w h i l e t h e n o s e e x t e n d s i n to a m o n s tr o u s t r u n k .

08[ 1 5 1 ] Perpetual Bass M u t a t i o n B o o t s y u s e s t h e M u tron B i - p h a s e r s o t h e b a s s r r R R e v s , a m o t o r b i ke powe r i n g t h e t r a c k . F i c t i o n a l i z i n g t h i s s o u n d i n to a l o w e n d l i fe fo r m , M u t a n t B a s s b e c o m e s t h e S p a c e fa c e d o u b l e b a s s o f Flashlight, t h e u n d er w a t e r b a s s o f A quaboogie. W i th B o o t s y t h e b a s s b e c o m e s a o n e - m a n r u b b e r b a n d , a t o n e - e ffe c t g e n e r a tor. A s we l l a s b e i n g t h e a n c h o r w h i c h w e i g h t s t h e m i x a d e l i c a rr a n g e m e n t , i t n o w e x t r u d e s s p i n a l t e x t u r - r- r - i frs , a l o w - e n d g l u ta m a te t h a t reverses t h e g r a v i t y of t h e Pa r l i a m e n t u n i v e r s e . W h y S p a c e fa c e ? B ec a u s e i t t u r n s g r a v i t y u p s i d e d o w n . N o w t h a t t h e l o w e n d a r r i v e s f r o m a b ove, t h e b o t t o m i s n o w a b o v e y o u r h e a d . T h e re ' s n o g r o u n d i n B o o t s y ' s a m p l i fi e d p h y s i c s . I n s te a d h i s b a s s s w a p s fu n c t i o n s w i t h Wo r re l l ' s M o o g s y n t h , b o t h a c t i n g a s l ow e n d m u t a t i o n e n g i n e s . La n d i n g o n t h e M o o g O n t h e 1 0 . 3 8 Flashligh t 1 2. m i x , fo r m e r c h i l d p r o d i g y a n d N e w E n g l a n d C o n s e r v a t o ry - t r a i n e d B e r n a rd W o r re l l b e c o m e s t h e l a te s t A fr o n a u t t o l a n d o n t h e M o o g . S y n t h e s i z i n g t h e b a s s f r o m t h e M o o g t u r n s t h e l ow e n d i n to g l o o p s a n d s q u i d g e s from g i a n t C l a e s O l d en b e r g t o o t h p a s t e . W o r re l l ' s m u t a n t M o o g i s r a d i o a c t i v e p l a s m a , p e r p e t u a l l y p u l s a t i n g fro m g l o b u l e s t o s t r o b i n g m a y d a y s i g n a l , from t h e e m e r g e n c y s i g n a l o f c o m p u te r m a l fu n c t i o n t o t h e c r a c k l e o f c r i n k l ed p l a s t i c t o t h e sheetmeta l c l a p w h i c h repl aces d r u m s w i t h a waver i n g y e t regu l a r impact. S y n t h e t i c b a s s s u c k u l a t e s , t h e n e w F u n ke n c y c l o - p - d i a t e r m fo r a s o u n d w h i c h b o t h s u c ks a n d p 'u s tu l a te s . M o o g b e c o m e s a s l i t h e r i n g c e p h a l o p o d t u g g i n g a t y o u r h i p s , d r a g g i n g y o u r n e c k i n to i t s b o n e l es s maw, sinking holes i n your ears and sucking out the balance mech a n i s m - t h e r e b y s l i d i n g s o l i d g r o u n d from u n d e r y o u . Flashligh t i s t h e d r e a m v i s i o n o f s y n t h e t i c r h y t h m , l i g h t s y n c h e d t o s o u n d u n t i l i t e n t ra i n s t h e b r a i n i n to t h e b l i n d i n g rea l i z a t i o n t h a t ' W e a r e t h e L i gh t . ' T h e c h o r u s i s a l o o p o f o p e r a t i c Y i d d i s h , p e r p e t u a l l y u n w i n d i n g a n d u n c o i l i n g l i ke a t a p e w o r m m a d e from c h o r a l c h a n t s . Flash ligh t' s v o i ce s a r e d o u b l e - ba c k w a r d s t a p e s , p h o n e m e s s a n g b a c kw a r d s t h e n reve r s e d , s o t h e a t t a c k o f e a c h s y l l a b l e f l i p s o v e r i n to a Twin Peaks- s t y l e g r u m b l e t h a t l a s t s a e o n s t h e n s p r i n g s b a c k a l l a t o n c e i n a g a b b l i n g g r e m l i n t o n e a n d a s h i ve r i n g ' O o o o o h ! ' fro m C l i n to n . B a s s s l i t h e r s i n t r a c t i o n w h i c h s u c ks y o u d o w n t h e n e x p e l s y o u i n to t h e p a t h o f C l i n t o n c r o o n i n g ' N ow I l a y m e d o w n ' i n a d a z e d d ra w l . T h e r e ' s a n a w k w a r d p a u s e a ft e r t h e s t u n n e d e l o n ga t i o n o f ' d o w n ' , b e fo r e ' to s l ee p '

08[ 1 5 2 ] l u rc h e s a n d w r o n g fo o t s y o u . S p l i c i n g t a p e a l te r s s pa c e , t r i c ks e x p e c t a t i o n so y o u m i s s t h e n e x t s t e p o n a s t a i r c a s e . T h e s p l i t b e t w e e n I a n d m e m a ke s a f r i e n d o f p s y c h o s i s . I i s an a l i e n w h i c h h e l p s m e ' t o s l ee p ' . I i s n ' t m e r e l y a n o t h e r i n t h e 1 9 t h C R i m b a u d i a n s e n s e . W i t h Pa r l i a m e n t , I i s a p o p u l a t i o n a n d y o u a r e a crow d . D e I a S o u l e q u a ted t h e m u l t i p l ex s e l f a s 'j u s t Me, M y s e l f a n d I ' w h i c h m a ke s 3 , t h e m a g i c n u m be r o f Yo u . Sy m b i o p s y c h o t a x i p l a s m : S e e n I I I T o o k 4 A qua Boogie' s s u b t i t l e , Psychoalphadiscobetabioaquadoloop, d e s c r i b e s the p a r a l l e l processes that P ' F u n k i n d u c e s . The s u ffixes describe p ' h ys i c a l states [p'sycho, bioi. mental states [alpha, beta]. environments [disco, a q u a ) . The c h o r u s l o o p s t h e l o o p i n to ' A m o t i o n p i c t u r e u n d e rw a t e r s t a r r i n g b o t h o f yo u . ' S t r i a t i o n s o f B u b b l e m o o g a n d B o o t s y ' s a q u a w - w ­ w o b b l e b a s s d r a w y o u i ns i d e t h e g i g a n t i c g u l p s o f a s u p e ra q u a l u n g . R h y t h m A r r a n g e m e n t s d e c o m p r e s s y o u i n t o t h e h y p e r r h y t h m i c l ev e l s o f t h e b i o c o m p u t e r . S t o c k h a u s e n : ' We a re a w h o l e s y s t e m o f p e r i o d i c rhythm within the body. There are many periodici ties superimposed, from very fa s t t o very s l o w o n e s . A n d a l l o f t h e s e t o ge t h e r b u i l d a v e r y polymeric music i n the body. ' P'Funk demands post-Cagean o m n i a tt e n t i v e n e s s . I t a c t i v a te s t h e n u m b e r i n g c a pa b i l i t y o f t h e b i g b r a i n , _ t h e b o d y . T h e fe e t t h a t m o v e , t h e h i p s w h i c h s w i v e l i n t i m e , t h e h e a d w h i c h n o d s , t h e n e r v e s w h i c h p u l s e : a l l t h e b o d y c o u n t s . To g e t f u n k e d u p i s t o a c c l i m a t i z e y o u rs e l f to t h e e n d l e s s c o m p l ex i fi c a t i o n o f t h e s e s t a t e s , t o be s e n s u a l i zed by a l l t h e p ro c e s s e s t h a t p r o c e s s y o u . Hydronauts in Aquatopia ' 7 8 ' s Mo tor-Bo o ty A ffa ir d r a w s t h e l i s te n e r d o w n i n t o a n A t l a n t i s w h i c h Pa r l i a m e n t ' s h y d r o n a u t s w a n t t o ' ra i s e t o t h e t o p ' . R a i s i n g A t l a n t i s t o t h e t o p m e a n s a m p l i fy i n g t h e l o w e n d u n t i l i t b e c o m e s a l i q u i d e n v i r o n m e n t . B r i n g i n g t h e d e e p - sea i s l a n d i n to d r y s h o r e d e m a n d s a n amphibian mixadelics. A t l a n t i s d e m a n d s the arti fic i a l evo l u t i o n o f a n nth -generation a q u a fu n k , e a s i n g p s y c h o s e n s o r y t e n s i o n i n a n e w f l o w m o t i o n . The Mo tor-Bo o ty A ffair' s s e a s w a y i n g s y n t h s a n d h o r n d e s c e n t l u l l s yo u i n to a n A t l a n te a n a q u a t o p i a , ' a m ys t i c a l m e e t i n g g r o u n d ' w h e r e ' w e c a n s w i m t h r o u g h l i fe w i t h o u t a c a r e . ' I n {You 're a Fish a n d I 'm a / Wa ter Sign C l i n t o n ' s fra i l fa l s e t t o l o n g s to be ' o n t h e s a m e s i d e o f l ove as y o u . ' C h o r u s b e c o m e s a b u o y a n t c h o r a l ree f w i t h vowe l s a n d c o n s o n a n t s n o w

08[ 1 5 3 ] d i ffe r e n t p i t c h e s o f b u b b l e s . V o i c e s d o n ' t s i n g ; i n s t e a d t h e y g a r g l e , t h r o u g h a q u a l u n g s , b u r b l e t h ro u g h s n o r ke l s i n b u b b l i c i o u s b a r i t o n e s . Dancing the aquaboogie in l iquid air turns you into an aquanaut on B i m i n i Row. S p a c e b a s s p u l l s s p a c e s a n d t i m e s o u t f r o m b e t w e e n p eo p l e . T h e f l o o r s l i p s f r o m u n d e r y o u r fee t , fl i p s o v e r a b o v e y o u r h e a d . A s s q u a k e i n o u t e r s p a c e . A q u a b a s s d r a w s y o u d o w n i n to a n a q u a bo o g i e i n z e r o G , s u c k i n g y o u r b o o t y u p i n t o a l o w e n d a b o v e y o u r h e a d . W o r re l l ' s s y n t h f l u c t u a te s f r o m s p o n g i fo a m t i m b re s to i n o r ga n i c s o u l c l a p s , f r o m a b r u p t t r e b l e s to w a n i n g s t r o b e s o f a n e m e r g e n c y s i g n a l . Yo u ' re c r a d l e d b y W a l t e r ' j u n i e ' M o r r i s o n ' s a q u a l u n ge d c r o o n : ' W i t h t h e r h y t h m i t t a k e s to d a n c e t h ro u g h w h a t w e h a v e t o l i v e t h r o u g h , y o u c a n d a n c e u n d e rw a t e r a n d n o t g e t w e t . ' A qua Boogie i s a n u - g r o o v e , a n i m p o s s i b l e n a v i g a t i o n t h ro u g h t h e a u d i o s o c i a l . Motor-Boo ty A ffair a n n o u n ces a n o u te r t h o u g h t o f t h e b o d y i n w h i c h t h e b r a i n i s a m o t o r f u n c t i o n a n d t h e b o o t y i s a b ra i n . A s P e d r o B e l l e x p l a i n s , 'Tec h n o l ogy a u to m a t i ca l l y c a u s e s t h e l a n g u a ge t o e x pa n d , ' p u t t i n g p r e s s u re o n l a n g u a g e , k n e a d i n g i t i n t o n e w p r o c e s s e s , n e w s e n s o r y l i fe fo r m s : s u c k u l a te , b o o t y fu l , t h ro b ba s o n i c t h u m p a s a u r u s . Nealogic, 'the primal act of pop poetics' i n W i l l iam G i bson 's sense, o c c u r s a t a n e x t r e m e r a t e . Pa r l i a m e n t a r e n e o l o g i s t s , l e x i c a l s y n a e s t h e te s e x t ra p o l a t i n g u n i ve r s e s from a g r a i n o f s o u n d . Cosmogenes i s a t 3 3 · 3 ·

09[ 1 54 ) SYN T H E SIZI N G TH E O M N IV E RS E [ D i a l o g u e s Conce r n i n g ] New World System B u i l d e r s : S u n Ra Th e I m p o s sible a t t r a c t s m e , b e c a u s e e ve ry t h in g p o s s i b l e h a s b e e n d o n e a n d t h e wo rld didn ' t c h a n g e Sun Ra The Break with Del iverance U n d e r l y i n g S o u t h e r n gos p e l , s o u l , t h e e n t i re C i v i l R i g h t s p roj e c t , i s t h e C h r i s t i a n e t h i c o f u n i v e rs a l l o v e . S o u l t r a d i t i o n a l l y i d e n t i fi e s w i t h t h e I s r a e l i t e s , t h e s l a v e s ' r e be l l i o n a ga i n s t t h e E gy p t i a n P h a r a o h s . S u n R a breaks v i o l e n t l y w i t h Christian redemption, with s o u l ' s aspirational d e l i v e r a n c e , i n fa v o u r o f p o s t h u m a n go d h e a d . Infatuation with the Despotic B u t R a i d e n t i fi e s w i t h t h e P h a r a o h s , t h e d e s p o t s , t h e a n c i e n t o p p r e s s o r s , b y s e c e d i n g fro m A m e r i c a : ' I a i n ' t p a r t o f A m e r i c a , I a i n ' t p a r t o f b l a c k p e o p l e . T h e y w e n t a n o t h e r w a y . B l a c k p e o p l e a r e c a r e fu l l y s u pe r v i s e d s o t h ey ' l l s t a y i n a l o w p o s i t i o n . I l e ft e v e ry t h i n g t o be m e , ' c a u s e I k n e w I

09[ 1 5 5 ] w a s n o t l i ke t h e m . N o t l i ke B l a c k o r w h i t e , n o t l i ke A m e r i c a n s . . . b l a c k p eo p l e , t h e y b a c k t h e r e i n t h e p a s t , a p a s t t h a t s o m e b o d y m a n u fa c t u r e d for ' e m . I t ' s n o t t h e i r p a s t , i t ' s n o t t h e i r h i s tory. ' The P o s t h u m a n S o u l a ff i r m s t h e H u m a n . R a i s d i s g u s t e d w i t h t h e H u m a n . H e d e s i res t o b e a l i e n , b y e m p h a s i z i n g E g y p t o v e r I s r a e l , t h e a l i e n over h u m a n , t h e f u t u r e o v e r t h e p a s t . I n h i s M y t h S c i e n c e s y s t e m s , A n c i e n t A fr i c a n s a r e a l i e n G o d s f r o m a d e s p o t i c fu t u r e . S u n Ra i s t h e E n d o f S o u l , t h e r e p l a c e m e n t o f G o d b y a P h a ra o n i c Pa n t h e o n . Te r m i n a t e t h e S l a v e R e v o l t o n P l a n e t R o c k S u n R a l o o ks d o w n o n h u m a n s w i t h t h e i n h u m a n i n d i ffe r e n c e a n d i m pa t i e n c e o f a P l u t o n i a n P h a r a o h . A s t h e c o m p o s e r d e s p o t , h e b r e a k s n o t o n l y w i t h g o s p e l t ra d i t i o n b u t a l s o w i t h T r a d fu t u r e - s l a v e n a rr a t i v e s : Planet of the Ap es, Bro th er from A n o ther Plan e t, Blade Runn er, A lien Na tion. R a th e r t h a n i d e n t i fy w i t h the rep l i c a n t s , w i t h Ta y l o r from Pla n e t of th e Apes, R a i s m o r e l i ke l y t o d i s p a t c h b l a d e r u n n e r s a ft e r t h e I s ra e l i t e s . H e ' s t h e Tyr e l l C o r p o ra t i o n ' s u n s e e n d i r e c t o r ; i t ' s R a t h a t w a n t s t h e B r o t h e r f r o m A n o t h e r P l a n e t g e n et i c a l l y t a gg e d a n d bodybagged. For S u n Ra, the oral trad i t i o n i s n o G l orious Heri tage; i t ' s m e r e l y t h e s o n g s s l a v e s w e r e a l l ow e d t o s i n g i n t h e c o n c e n t ra t i o n - c a m p u n i v e r s e o f 1 8 t h C A m e r i c a . F a r from b e i n g t h e e n d u r i n g s p i r i t o f a ff i r m a t i o n , t h e s o u l h e r i t a g e i s t h e m n e m o t e c h n i c s o f e n fo r c e d d e m a t e r i a l i z a t i o n , o f t h e g e n o c i d a l v i r t u a l i ty o f t h e M i d d l e P a s s a g e . T h e '72 m o v i e Space i s t h e Pla ce s e e s Ra a t h i s m o s t P h a r a o n i c , t h i s d e s p o t i c a l i e n from a n O t h e r P l a n e o f T h e r e . A n c i e n t E gy p t i a n s a rr i v e from t h e A l te r D e s t i n y , from a p a ra l l e l fu t u r e . D r i v i n g t h ro u g h p o o r a r e a s o f d o w n t o w n O a k l a n d , fl a n ke d b y t h e f i g u r e s o f H o r u s a n d A n u b i s , h e observes: 'The peop l e have n o music t h a t i s in coord i n a t i o n with their spirits. Because o f this, they're out o f tune with the u niverse. S ince they d o n ' t h a v e m o n ey , t h e y d o n ' t h a v e a n y t h i n g . I f t h e P l a n e t t a k e s h o l d o f a n A l t e r D e s t i n y, t h e r e ' s h o p e f o r a l l o f u s . B u t o t h e r w i s e t h e d e a t h sentence upon this p l a n e t s t i l l stands. Everyone must d i e . ' As s p a ce vo c a l i s t j u n e Tys o n i n to n e s , ' I t ' s a ft e r t h e E n d of t h e W o r l d . D o n ' t y o u k n o w t h a t yet? '

09[ 1 5 6 ] T h e Wa r i n T i m e l n t h e z o s , j a m a i ca n a c t i v i s t M a rc u s G a rvey, t h e ' B l a c k M o s e s ' , n a m e d h i s s h i p p i n g f l e e t B l a c k S t a r L i n e r s , t o p l u g t h e n o t i o n s o f r e p a tr i a t i o n , o f retu r n t o t h e p a t r i a , t h e f a t h e r l a n d , i n to t h a t o f i n te r p l a n e t a ry e s c a p e . R a z o o m s t h i s l o s t A f r i c a i n t o a l o s t P h a r a o n i c E g y p t . B y revers i n g t h i s l o s t A fr i c a n E g y p t o u t o f t h e p a s t , a n d fa s t fo r w a rd i n g i t o u t i n to t h e i n te r s te l l a r s p a c e o f S a t u r n a n d P l u t o n i a , R a s w a p s G a rv e y ' s p o l i t i c s o f seces s i o n , rad i c a l a t a p o i n t when i m p e r i a l c a p i t a l demanded reserves o f b l a c k l a b o u r , for a M y t h S c i e n c e s y s t e m a s s e m b l e d from G e o rge M . j a m e s ' N e w P h i l o s o p h y o f A fr i c a n R e d e m p t i o n i n ' 5 4 ' s Stolen L egacy. Stolen L ega cy is rea l w o r l d s c i fi in w h i c h E g y p t i a n M y t h S y s t e m s a r e stolen, d i sguised and sent back into the past to prevent an A f r i ca n • · Am e r i c a n f u t u r e e v e r h a p p e n i n g . B a c k i n ' 4 0 , W a l t e r B e nj a m i n w a s foreca s t i n g a W a r i n t i m e w h e r e ' e v e n t h e d e a d w i l l n o t b e s a fe ' from ' t h e e n e m y ' i f h e w i n s . Th i s a n a c h ro n i c z o n e i s l a t e r p h o t o fi l m e d b y C h r i s M a r k e r a s La je tee. B y ' 6 4 , F r a n t z Fa n o n g l i m p s e s a 2 n d Wa r i n T i m e w h ere a Te r m i n a to r ' t u r n s t o t h e p a s t o f t h e o p p r e s s e d p e o p l e a n d d i s to r t s , d i s fi g u r e s a n d d e s t r o y s i t . ' Egyptillogic F o r j a m e s , A f r i c a n • · Am e r i c a n h i s to r y i s n o t h i n g b u t w h i te m y t h o l o g y . E g y p t i s b o t h o u t s i d e h i s to r y a n d a c o r r e c t i v e to h i s t o r y , a b e n i g n d e s p o t i c s t a t e , t h e h y d ra u l i c s l a v e s t a t e , t h e r u i n s o f a re s p l e n d e n t h e l i o p o l i s . I t i s A p a r t h e i d A m e r i c a i n reve r s e . F a n o n c a l l s u p a n o n s c r e e n m e m o r y fi l e a n d g a z e s a t t h e i m a g e o f a ' v e r y b e a u t i fu l a n d s p l e n d i d e ra ' . I t s e x i s t e n c e , h e s u g g e s t s , c a t a l y s e s ' a n i m p o r t a n t c h a n g e i n p s y c h o a ffe c t i ve e q u i l i b r i u m ' w h i c h ' r e h a b i l i ta te s u s . ' The E g y p t t h a t j a m e s b u i l d s i s a d e s p o t i c p a r a d i s e , m i rr o r i m a ge o f A m e r i c a ' s a p a r t h e i d d e l i r i u m . T h e W e s t i s j u s t a s i d e - e ffe c t : t h i s b y p r o d u c t , t h i s u s u r p i n g p a r a s i te o f t h e E g yp t i a n ' s a r c h a i c b l u e p r i n t . R e p r o g r a m m i n g w h i te m y t h o l og y f r o m t h e o p e ra t i n g s y s t e m u p w a r d s l e a d s i n to p h i l o l og i c a l l a b y r i n t h s , t h e m a z e o f M y t h Sy s t e m s . Stolen L egacy t r i ggers t h e E g y p t i l l og i c a l S o n i c F i c t i o n o f E a r t h W i n d a n d F i r e . F l i p to t h e b a c k cover o f S h u z e i N a g a o ka ' s artwork f o r ' 7 9 ' s I A m a n d t h e r e ' s t h e Egyp t i l l o g i c a l l a n d s c a p e l i t i n t h e g l a u c o u s red l i g h t o f D a l i - ized n u c l e a r m y s t i c i s m . M u s h ro o m clouds hover i n t h e b a c kgro u n d ; P h a ra o n i c r o c k s t a t u e s s i t n e x t to B a by l o n i a n z i g g u r a t s powered by l i nes a b o v e F u l l e r d o m e s ; t r a n s p o r t g r i d s r u n t h ro u g h t e m p l e s b u i l t by D . W . G r i ff i t h s f o r h i s fi l m In tolerance. E l i za b e t h a n s h i p s c r a s h over w a t e r fa l l s ; U F O s c i r c l e l a z i l y.

09( 1 5 7 ] I f y o u l a u n c h fr o m 1 8 4 7 t o 1 5 2 :5 , y o u l a u n c h t h e m i s s i l e n o t in t o t h e fu t u r e b u t b a c k w a r d s . N o w yo u we re d i s r u p t i n g t i m e a s t h e t im e t a b le s . Yo u h a d t i m e v e r s i n g t i m e R am m e llze e H i s t o ry I s a P a r a n o i d M a d m a n Tu r n i n g t o h i s t o r y b e c o m e s a m o r a l d u t y i n a n e n d l es s w a r a ga i n s t m i seducation. F i n d i n g contin u i ties i n the p a s t or reten t i o n s b a c k to the W e s t C o a s t o f A f r i c a b e c o m e s a n i m p e r a t i v e o f s e l f- k n o w l e d g e , from j a m e s to Fa n o n t o K R S 1 . I f t h e w a r i n t i m e i s a Forever W a r , t h e n a l l t h e t r o o p s h a v e t o be s t a t i o n e d there a l l t h e t i m e . I t ' s n o s u r p r i s e when t h e s o l d i e r s go a wo l . W h o a r e t h e y fi g h t i n g for? T h e fo l k s b a c k h o m e ? W h a t i f t i m e i s n ' t a b e s i eg e d t r e n c h on a Forever W a r , b u t an i n d e t e r m i n a te s i t u a t i o n : ' W h a t i f h i s tory w a s a g a m b l e r , i n s te a d o f a force i n a l a b o r a t o r y e x p e r i m e n t ' ? What i f h i story isn't ' a reason a b l e c i t izen' but Ralph E l l ison's 'madman fu l l o f p a r a n o i d g u i l e '? sp s A m e r i c a i s a n u n e n d i n g n i g h t m a re , a n e n d l e s s Nigh t of th e L i ving Dead i n w h i c h 1 9 t h , 1 8 t h a n d 1 7 t h C s t e r e o ty p o l o g i e s s t a l k t h e d i s u n i te d S t a t e s , s q u a t t i n g b r a i n s , s e c u r i n g a l l e g i a n c e t o c o f f i n s . T h e dead refuse to d i e . R Vi s i t o r f r o m A n o t h e r M e a n i n g Awa y from a l i e n a t i o n . I n to t h e a r m s o f t h e a l i e n : ' I ' m n o t a h u m a n . I n e v e r c a l l e d a n y b o d y m o t h e r . The w o m a n w h o ' s s u p p o s e d to be my m o t h e r I c a l l o ther momma. I never c a l l n o b o d y m o t h e r . I never c a l l n o b o d y fa t h e r . ' S to c k h a u s e n : ' I t ' s a n i n n e r reve l a t i o n t h a t h a s c o m e s e ve r a l t i m e s to m e , t h a t I h a ve b e e n e d u c a t e d o n S i r i u s , t h a t I c o m e f r o m S i r i u s . ' L i kew i s e , R a m a i n t a i n s h e w a s b o r n o n S a t u r n . Th i s b l a t a n t i m p o s s i b i l i t y b e c o m e s t h e p reco n d i t i o n o f R a ' s o u t e r t h o u g h t , t h e t h re s h o l d w h i c h o p e n s o u t i n t o t h e n e w w o r l d o f M y t h S c i e n c e . E v e ry t h i n g h e c o m p o s e s , f r o m ' 5 6 to ' 9 3 , e x a c e r b a tes t h i s i m po s s i b i l i ty, e x t e n d s i t a c r o s s 2 0 0 a l b u m s t o e c l i p s e e v e r y d a y r e a l i ty : ' T h e I m p o s s i b l e i s t h e W a t c h w o r d o f t h e G re a t e r S p a c e A g e . ' h e a n n o u n c e s i n ' 6 o . The S p a ce A g e c a n n o t b e a v o i d e d a n d S PA C E M U S I C i s t h e k e y to u n d e rs t a n d i n g t h e m e a n i n g o f t h e I M P O S S I B L E a n d every other e n i g m a . '

09[ 1 5 8 ] Th e M o t h e r s h i p a n d t h e F a t h e r s h ip a r e c o m i n g fo r m e . C o m e a n d s n a t c h m e , m o t h e r fu c k e r s ! Ta k e m e a w a y fo r a l i t t l e w h i l e O l ' D irty B a s t ar d < > O s iris B a s i c I n s t r u c t i o n s f o r L e a v i n g E a rt h T o l i s t e n t o R a i s t o b e d ragged i n to a n o t h e r s o n a r s y s te m , a n o m n i ve r s e o f o v e r l a p p i n g s o n a r s y s t e m s w h i c h a b d u c t y o u from T r a d a u d i o rea l i ty. B y b e c o m i n g a l i e n h i m s e l f, R a t u r n s y o u a l i e n . A fr o < • A m e r i c a n h i s t ory is w h i t e m y t h o l o gy : t h e r e fo r e R a p u r s u e s j a m e s ' o p e r a t i n g system to i t s f i n a l p r o g ra m : R ej e c t h i s to r y a n d m y t h o l ogy. A s s e m b l e coun termythologies. Assemb l e science from myth and vice versa. In '72's Spa ce i s th e Pla ce, t h e c a m e r a c u t s to a g i r l w i t h a fr o p u ffs : ' H o w d o w e k n o w y o u ' re for rea l ? ' R a : ' H o w d o y o u k n o w I ' m rea l?' Tee n a ge r s c h o r u s : ' Yea h . ' R a : ' I ' m n o t rea l , I ' m j u s t l i ke y o u . You d o n ' t e x i s t , i n t h i s s o c i ety. I f y o u d i d , y o u r p eo p l e w o u l d n ' t b e s e e k i n g e q u a l r i g h t s . ' C a m era c u t s t o g i r l w h o s m i l e s w i t h h e r e y e s , u n t i l h e r m o u t h regis ters p a i ned recogn i t i o n . R a : ' Yo u ' re n o t r e a l . I f y o u w e r e , y o u ' d h a v e s o m e s t a t u s a m o n g t h e nations of the worl d . So we're both myths. I do not co me to you a s r ea l i ty. I c o m e t o y o u a s t h e m y t h b e c a u s e t h a t ' s w h a t b l a c k - ' [ C a m e r a c u t s i n c l o s e a s h e h o l d s u p a crys t a l u p t o h i s f a c e a n d s t a r e s a t i t ] ' p e o p l e a r e , m y t h s . I c o m e from ( s tressed] a d re a m t h a t t h e B l a c k M a n dreamed long ago. · C a m e r a c u t s to m i d s h o t fl a n ked by A n u b i s a n d H o r u s . R a : ' I ' m a c t u a l l y a p r e s e n t ' • p r e s e n c e s e n t t o y o u b y y o u r a n ce s t o r s . ' T h e Age of Mythscience I n h i s ' 9 2 Chronicle of Pos t Soul Black Culture, m a i n s t r e a m c r i t i c N e l s o n G eo r g e d a t e s t h e D e a t h o f a red e m p t i ve a n d a ff i r m a t i v e S o u l c u l t u r e ­ t h e o n e c h a ra c t e r i zed by C i v i l R i g h t s - e r a o p t i m i s m , g o s p e l a n d M ot o w n to ' 7 2 , t h e e r a o f B l a x p l o i ta t i o n , t h e s t a te d e c i m a t i o n o f B l a c k P o w e r a n d N ixon's election. But the Arkestra i s l a unched back i n '55. Ra's p o s t h u m a n M y t h S c i e n c e p re c e d e s n o t o n l y t h e p o s t s o u l e r a , b u t m a n y o f t h e a l l - wh i te f u t u r e s o f t h e 5 0 s , t h e p r i s t i n e t o w e r s o f F r a n k R . Pa u l . M y t h S c i e n c e s t a r t s w i t h R a ' s ' 5 5 fu t u r o p o l i s Brain ville, w h e r e j a z z p r o v i d e s t h e m a te r i a l f o r ' a s p a c i te p i c tu r e o f t h e A t o n a l Tom o r ro w ' .

09[ 1 5 9 ] J a zz b e c o m e s t h e p l a tform for S u p e r s o n i c F i c t i o n s . fo r c o s m o po l i t a n p o s s i b i l i t y s p a c e s : ' I n Bra in ville, I e n v i s i o n a c i t y w h o s e c i t i z e n s a re a l l i n te l l i g e n t i n m i n d a n d a c t i o n . Every p r i n c i p l e used i n govern i n g t h i s c i ty i s b a s e d o n S c i e n c e a n d Log i c . M u s i c i a n s a r e ca l l ed S o u n d S c i e n t i s t s a n d To n e A rt i s t s . Y e s , B ra i n v i l l e i s a w o n d e r f u l c i ty a n d we l i ke the t h o u g h t o f i t . ' The Possibility Space of Outer Thoug h t S u n R a ' s i m p o ss i b l e s t a t e a s a n o ffwo r l d a l i e n o p e n s u p t h e p o s s i b i l i t y s p a c e o f a 3 r d - P i a n e t m u s i c . B e c a u s e h e l i s te n s to E a r t h from o ffwo r l d , h e ga i n s t h e s a t e l l i te ' s p e r s p e c t i v e , t h a t p o i n t o f h e a r i n g t h a t K i l l a h P r i e s t g r a s p e d w h e n h e c r o o n e d i n ' 9 5 t h a t t h e ' Ea r th i s a l re a d y i n s p a c e . ' Th i s a rk e s t r a l p e r s p e c t i v e , t h e o ffw o r l d a u d i t i o n o f S p a c e s h i p E a r t h o p e n s t h e p o s s i b i l i t y s p a c e o f t h e h e a d : ' I N ST R U C T I O N T O T H E P E O P L E O F E A RT H . Y o u m u s t rea l i z e t h a t y o u h a v e t h e r i g h t t o l o v e b e a u ty . . . Y o u m u s t l e a r n t o l i s t e n . beca u s e by l i s t e n i n g y o u w i l l l e a r n t o s e e w i t h y o u r m i n d ' s e y e . You s e e , m u s i c p a i n t s p i c t u r e s t h a t o n l y t h e mind's eye can see. Open your ears s o that you can see w i t h the eye of t h e m i n d . ' A f t e r R a , m u s i c b e c o m e s a n U n i d e n t i fi a b l e A u d i o - O bj e c t . We didn ' t h a ve a n y m o de ls so w e h a d t o cre a t e o u r o wn l a n g u a g e . I t was b a s e d o n s o u n d . I t wa s n ' t j u s t s o m e t h i n g yo u c o u l d p i ck up a n d physically d e a l wi t h . Sp a c e is a p l a c e , a n d yo u h a d to t h i n k s p a c e Phil Cohran O p e r a t i n g Sy s t e m f o r S p a ce s h i p E a rt h A s the p i lot-composer o f the Arkes tra, Ra i s captain o f Spacesh i p Earth: D e s t i n a t i o n U n k n o w n . T h e s y n t h e s i z e r t u r n s t h e p r o d u c e r i n to a n a v i ga t o r , m o v i n g t h r o u g h fi c t i o n a l s p a c e . l a n n i s X e n a k i s : ' W i t h t h e a i d o f e l ec t r o n i c c o m p u te r s t h e c o m p o s e r b e c o m e s a s o r t o f p i l o t : h e p r e s s e s t h e b u t t o n s , i n t r o d u c e s c o o r d i n a t e s , a n d s u p e r v i s e s t h e c o n t ro l s o f a cos m i c vessel s a i l i n g in t h e s p a c e o f s o u n d , across sonic c o n s t e l l a t i o n s a n d g a l a x i e s t h a t h e c o u l d fo r m e r l y g l i m p s e o n l y a s a d i s t a n t d r ea m . · T h e A r k e s t r a i s t h i s ' c os m i c v e s s e l s a i l i n g i n t h e s p a c e o f t h e s o u n d ' , t h e s o n i c s p a c e s h i p w h i c h l e a v e s S a t u r n . trave l l i n g t o P l u t o n i a , t o N u b i a , A t l a n t i s o n a n I n te r g a l a c t i c S p a c e T r a v e l i n S o u n d . A f t e r t h e A r k e s t r a c o m e t h e a u d i o ve h i c l e s o f t h e 7 0 s : T h e U p s e t t e r ' s B l a ck A r k , C r e a t i o n R e be l ' s S t a r s h i p A fr i c a , Pa r l i a m e n t ' s M o t h e r s h i p -

09[ 1 6 0] a n d a rt i s t R o b e r t S p r i n g e t t ' s M o o gs h i p , o n t h e s l eeve o f H e r b i e H a n c o c k ' s ' 7 4 Thrust. T h e F u t u r i s t b u i l d s c o n c e p t u a l s o u n dc r a ft s , n e w a r k s f o r e x p l o r i n g u n h e a r d s o u n d wo r l d s . Entering t h e Synt h Race W h o e v e r c o n t ro l s t h e s y n t h e s i z e r c o n t ro l s t h e s o u n d o f t h e fu t u r e , b y evo k i n g t h e a l i e n . I n ' 7 0 , X e n a k i s r e n a m e s t h e s y n t h e s i z e r t h e S o n o t r o n . Every synthesizer is an instrument that emits sonorous particles and g e n e r a t e s s o n i c m o l e c u l e s , a m a c h i n e w h i c h t ra n s m i ts w a v e fo r m s , fi r i n g Sonic Rays, Essr'ays. I n t h e 5 0 s s u c h p r o t o s y n t h s a s t h e T h e r e m i n evoked M o n s t e r s a n d t h e a l i e n . R a h a d b e e n t u r n e d o n t o e l ec t r o n i c s by wa t c h i n g m o n s t e r m o v i e s a n d h e a r i n g t h e u n e a r t h l y T h e re m i n . I n t h e 7 0 s d i s c o ' s s y n t h e t i c m etronomes were attacked as automatic and i n h u m a n , a s c l ones o f a s u p e r i o r r o b o t i c fo r c e . B y t h e l a te 6 o s , R a h a s a l re a d y l a n d e d o n t h e M o o g . The s p a c e r a c e b e c o m e s t h e s y n t h r a c e . W i t h t h e E l ec t r o n i c j a zz o f H e r b i e H a n c o c k , L a r r y Yo u n g e t a/, s pa c e t u r n s from a 1 9 t h C w e i g h t l e s s s u b l i m e t o w a r d s a p o l y r h y t h m s p a c e s h o w e r . I n Space i s th e Pla ce, d e s p i t e h i m s e l f, a t e e n a g e r w a n t s to k n o w : ' A r e t h e r e a n y w h i t e y s u p t h e r e ? ' R a : 'They ' r e w o rk i n g u p t h e r e ( h esita n t) t o d a y . T h e y t a k e fre q u e n t t r i p s t o t h e m o o n . I n o t i ce n o n e o f y o u h a v e b e e n i n v i te d . H o w d o y o u t h i n k y o u ' re g o n n a e x i s t? T h e y e a r 2 0 0 0 i s r i g h t a r o u n d t h e c o r n e r . ' The s y n t h r a c e a n d t h e s p a c e r a c e c o n ve r g e i n to h a r m o n i c p r o g re s s i o n s , w h i c h R a s y n t h e s i z e s i n t o s o n o t r o n i c p ro p u l s i o n p r o c e s s e s : M u l t i p l i c i t y Adj u s t m e n t , R e a dj u s t m e n t S y n t h e s i s , I s o t o p e Te l e p o r t a t i o n . Tra n s m o l ec u l a r i z a t i o n , F r e q u e n c y P o l a r i z a t i o n . T h e Te c h n o l o g y - M a g i c C o n t i n u u m Tra d i t i o n a l l y , 2 o t h C s c i e n c e s t e r i l i ze s a l l m y t h : m y t h s ta r t s w h e r e s c i e n c e s t o p s . B u t t h e r e c o rd i n g m ed i u m a c t s a s a n i n t e r fa c e b e t ween s c i e n c e and m y t h . E v e r y m e d i u m o p e n s u p a c o n t i n u u m fro m tec h n o l ogy t o m a g i c and b a c k a ga i n . M a g i c is j u s t a n o t h e r name for a fu t u r e , a n a s ­ y e t u n kn o w n m e d i u m , a l o g i c i d e n t i fi e d b y b o t h A r t h u r C . C l a r ke - ' A n y s u ffi c i e n t l y a d v a n ce d t e c h n o l o g y b e c o m e s i n d i s t i n g u i s h a b l e from m a g i c ' - a n d S a m u e l R . D e l a n y : ' A t t h e m a t e r i a l l e ve l , o u r t e c h n o l ogy i s b e co m i n g m o r e a n d m o r e l i ke m a g i c . ' R a ' s M y t h S c i e n c e e x t e n d s t h e t e c h n o l ogy m a g i c c o n t i n u u m i n to s o u n d . C o n c e p t s c l u s te r i n to o v e r l a p p i n g M y t h S c i e n c e s , i n to n e w w o r l d s y s t e m s a n d p a ra l l e l

09 [ 1 6 1 ] c o s m o l o g i e s : ' I n fa c t , I ' ve b e e n t a l k i n g a b o u t t h e o m n i v e r s e , a n d t h a t i s a b o u t a m u l t i p l i c i ty o f u n i ve r s e s . ' F r o m M a rc o n i t o Te s t a t o M o o g t o R a , e l e c t r i f i c a t i o n o p e n s u p a d i s c o n t i n u u m b e t w e e n t e c h n o l ogy a n d m a g i c . W h y a d i s c o n t i n u u m i n s te a d o f a c o n t i n u u m ? B e c a u s e a l te r n a t i n g c u r r e n t t ra n s m i ts a c r o s s g a p s a n d i n t e r v a l s , a n d n o t by l i n e a g e o r i n h e r i t a n c e . F r o m n o w o n , E l e c t r o n i c M u s i c b e c o m e s a t e c h n o l o g y - m y t h d i s c o n t i n u u m . T ra d i t i o n a l C u l tu r e w o r k s h a r d to p o l a r i z e t h i s d i s c o n t i n u u m . M u s i c w i l fu l l y co l l a p s e s i t , f l a g ra n t l y c o n fu s i n g m a c h i n e s w i t h m ys t i c i s m , s y s te m a t i z i n g t h i s c r i t i c a l d e l i r i u m i n to i n fo r m a t i o n m y s t e r i e s . The C o m p o s e r I s a To n e S c i e n t i s t M u s i c i s t h e s c i e n c e o f p l ay i n g h u m a n n e rv o u s s y s t e m s , o r c h e s t r a t i n g s e n s o ry m i x e s o f e l e c t r i c e m o t i o n s : t h e m u s i c o f y o u r s e l f i n d i s s o n a n c e . Ra hears h u m a n s a s i n s truments, sound genera tors p l ayed by the music t h e y l i s t e n t o . T h e t o n e s c i e n t i s t ' s ro l e i s t o e n g i n e e r n e w h u m a n s t h r o u g h e l ec t ro n i c s . I n h i s ' 9 1 p o e m I am the Instrumen t, R a a b s t r a c t s the soundmachine into a social machine: 'I a m a n instrument. But man is an i n strument too. The people are a n i n strument. ' The A u d i e n c e I s a M e d i u m T h e crowd i s a n i n s t r u m e n t p l a yed b y e l ec t ro n i c s , a n d R a i s a n i n s t r u m e n t p l a yed b y t h e C o s m o s . T h e crowd i s s y n t h e s i z e d i n to a n e w s ta t e by e l ec t ro n i c s . S i n e w a v e s p a s s t h r o u g h t h e m ed i u m o f t h e s y n t h e s i z e r , a m p l i fi c a t i o n t r a v e l s t h r o u g h t h e A r k e s t r a ' s i n s t r u m e n t s , t h r o u g h t h e c r o w d a n d t h e n b a c k , i n a n a l te rn a t i n g s o n o tr o n i c c i rc u i t . D a n c e s c o r re s p o n d t o c o n s te l l a t i o n s , e a c h o n e a p os i t i o n i n g s a t e l l i te i n a n a v i ga t i o n a l a s t r o n o m y . T h e A r k e s t r a i s a n i n s t r u m e n t o f t o n e t h e r a p y that conducts emotional current through a u d i ences. M a S o n i c S c i e n t i s t s i n t h e R r k e s t r a l M o n a s t e ry Ark • O r c h e s t ra = A r ke s t ra . S u n Ra u s e d to t e l l h i s t o n e s c i e n t i s t s t h a t t h e i r j o b w a s n o t s o m u c h t o p l a y a s t o m a n i p u l a te t o n e c o l o u r s . T h e y c o l o r i z e a n e w e m o t i o n a l s p e c t ru m , p r o g r a m s e n s a t i o n s w i t h o u t n a m e s . D i s c i p l i n e i s the m o t o r o f S p a c e . The Arkestra i s a n a l l - m a l e orchestra r u n a s a M i l i ta r y M o n a s te r y : ' W h e n t h e a r m y w a n t s t o b u i l d m e n t h e y isolate them. It's just the case that these are m u s i c i a n s but you m i g h t s a y t h e y ' r e m a r i n e s . They h a v e t o k n o w e v e r y t h i n g . '

09[ 1 6 2 ] E n t e r p l a n e t a ry K o n c e p t s R a u s e s e l e c t ro n i c s t o g e n e r a te a p a n t h e i s t i c c o s m o l o g y . E l ec t ro n i c s a m p l i fi e s t h e a r c h a i c P y t h a g o re a n s y s t e m i n w h i c h t h e c o s m o s i s a corre s p o n d e n c e o f h a r m o n y a n d n u m be r . ' 7 2 ' s A s tro Black Mythology i s a s s e m b l ed f r o m t r a n s c h r o n i c i n p u t s : E g y p t , N u b i a , E u r o p e . M a c h i n e G e n e a l o g i s t L e w i s M u m ford p r e s s e s t h e C o n t r o l key o n t h e A s s e m b l a ge fi l e : ' O n l y o n e t h i n g w a s n e e d e d to a s s e m b l e a n d p o l a r i z e a l l t h e n e w c o m p o n e n t s o f t h e m e ga m a c h i n e : t h e b i r t h o f t h e S u n G o d . A n d i n t h e 1 6 t h C . w i t h K e p l e r , Ty c h o Bra h e a n d C o p e r n i c u s o f fi c i a t i n g a s a c c o u c h e u r s , t h e n e w S u n G o d w a s b o r n . ' O n t h e c o v e r o f ' 6 5 ' s The Heliocen tric World of Sun Ra Vol 2. n e x t to C o p e r n i c u s . G a l i l e o , Tyc h o B ra h e a n d K e p l er, t h e r e ' s a n i l l u s t r a t i o n o f R a . B y t r a ve l l i n g b a c k i n t i m e a n d inserting himself i nto the 1 6th C. Copernican hel iocentricity i s t u r n e d i n t o E u r o p e a n s u n w o r s h i p . R e n a i s s a n c e a s tro n o m y b e c o m e s a t h r i v i n g b r a n c h o f E g yp t i a n g o d w o rs h i p . E gy p t i a n M y t h S y s t e m s a b d u c t the Christian u n i verse. Their cosmol ogy serves R a ' s e n d s . P o l y r h yt h m a z e s I n Pythagorean MythSci ence, a l l the spheres harmonize. W i t h S u n Ra, the p o l y r h y t h m a z e r e p l a c e h a r m o n y , a c t i n g a s a n a s tr o t h e r a p y t o h e a l s t h e m i n d ' s i n te r n a l e m p i re s . C o s m i c t o n e m a g i c i s w h a t R h y t h i m i s R h y th i m ' s D e r r i c k M a y w i l l l a te r t e r m a k a o - t i c h a r m o n y : a h a r m o n y o f s p e a r s a s m u c h a s s p he r e s . I o n o s p h e re ' 7 2 ' s A s tro Black u s e s e l ec t r o n i c s as a n a e r i a l to t u n e i n to t h e i o n o s p h e re u n t i l t h e s o u n d s p e c tra o f t h e u n i v e r s e b e c o m e a u d i b l e . E l ec t r o m a g n e t i c s t o r m s . i o n o s p h e r i c d i s t u r b a n c e , t h e d o p p l e r s h i ft o f l i gh t n i n g a r c i n g t h r o u g h s p a c e , c ra s h i n g t h o u g h t h e g e o m a g n e t i c fi e l d , g e n e ra t i n g w h i te n o i s e ; a l l t h i s C o s m i c s o u n d i s m a te r i a l i z e d t h r o u g h t h e M oo g . R a d i o t ra n s m i s s i o n s , s a te l l i t e s i g n a l s , p u l s a r freq u e n c i e s , q u a s a r e m i s s i o n s , a l l t h e s e t ra n s m i t t h r o u g h t h e p a t c h b a y o f t h e M o o g i n a n i n terstel l a r tsunam i . A s tro Black t h rows y o u i n t o t h e s q u a l l a n d s q u e a l o f h o r n s . p i t c h e d s o h i g h t h ey t u r n i n t o e m e r g e n c y s i r e n s , p i e d p i p e r p a n i c . B a s s c l a r i n e t b e c o m e s a s i n i s te r s i d ew i n d e r . B a s s i s bowed i n to d r o n e t e x t u re s t h a t m i rr o r a n d m u t a t e fo g h o r n f l o c k a n d b a s s o o n h o n k . T h e p o l yr h y t h m a z e vo l a t i zes t h e w e i g h t l es s z e r o o f t ra d i t i o n a l s p a c e m u s i c w i t h t h e p e r pe t u a l m o t i l i t y a n d r u n a w a y c o m p l e x i t y o f m o l e c u l a r

09[ 1 6 3] r h y t h m . F i e l d s o f p e r c u s s i o n t h a t d i s t r i b u t e t h e b e a t i n to s l i p s l i d i n g t u r b u l e n c e . Th i s a g i t a t i o n r e s u l ts from r e t h i n k i n g S p a c e a s p o l y r h y t h m a n d p a r a d o x . ' S pa c e i s a p l a c e , ' A r k e s t r a l t r u m pe t e r P h i l C o h r a n a r g u e d , ' a n d y o u h a d to t h i n k s p a c e . ' E n g i n e s f o r R u d i o Tr a v e l E v e ry i n s t r u m e n t i s a s o u n d m a c h i n e w h i c h t ra n s m i t s e n e r g y . The Moog osci l l ates between shortwave static a n d whale s p u m e , w h i te n o i s e a n d m e te o r s h o w e r s , N A SA t e s t p a t te r n s a n d c ra s h i n g m e t a l , r o c k e t t a k e o f f a n d s q u e a l i n g s tr i n g s e c t i o n s . E l e c t ro n i c i n s t r u m e n t s a r e e n g i n e s f o r a u d i o t r a v e l : t h e c os m i c t o n e orga n , t h e a s t r o s p a c e o r g a n , t h e S o l a r s o u n d o r ga n , t h e s o l a r p i a n o , t h e j u p i t e r i a n fl u te . Perc u s s i o n i s t h e m u l t i t i m e g e n e r a tor, t h e r h y t h m u l t i p l i e r : s o l a r d r u m , c os m i c s i d e d r u m , s k y t o n e d r u m s , d ra g o n d r u m s , t h u n d e r d r u m , s p i r a l p e rc u s s i o n g o n g , E g y p t i a n s u n b e l l s , s o l a r b e l l s , s p a c e g o n g , s u n h a r p . Perc u s s i o n s c ra m b l es t i m e a n d t r a n s m o l e c u l a r i z e s s p a c e . T h r o u gh o u t Cosmic Tones for Men tal Therapy, p e r c u s s a pe l l a t u r n s i n t o a l a by r i n t h . Black to Comm I n A dven ture Equa tion, p o l y r h y t h m r e v e r b e r a t e s i n to a w e b b e d m a z e , a t r e a c h e r o u s r h y t h m s h ower t h a t c o m p e l s y o u to s u p p l y a s t a b i l i z i n g b e a t . R h y t h m m u l t i p l i e s a n d p e r p l e x e s , con fo u n d s t h e s p a c e b e t w e e n s o u n d s w i t h t h e s h a p e s o f s o u n d . T h e p o l y r h y t h m a z e w a s A u to C a ta l y s e d by a n A m p e x t a p e r e c o r d e r . I t d rew T h o m a s ' B u g s ' H u n ter, t h e A r k e s t r a ­ record i s t - d r u m m e r i n t o i t s s h i ft i n g s a n d s : ' I w a s u s i n g a n o l d A m p e x 6 0 1 o r 6 0 2 m o d e l t a p e record e r . . . W h a t i t h a d w a s t h i s t h i n g w h e re y o u c o u l d t a k e t h e o u t p u t o f t h e t a p e y o u ' d r e c o r d e d p l a y i n g b a c k , a n d fe ed i t i n to a no t h e r i n p u t . I w a s j u s t foo l i n g w i t h i t once . . . and I g o t t h i s we i rd reverbe r a t i o n . I w a s n ' t s u r e w h a t S u n Ra wo u l d t h i n k o f i t w h e n he h e a rd i t , I t h o u g h t he m i g h t be m a d - b u t he l o ved i t . I t b l ew h i s m i n d ' By w o rk i n g the vo l u m e o f t h e o u t p u t o n t h e p l a y b a c k I c o u l d c o n t r o l the e ffec t , m a ke i t fa s t o r s l o w , d ro p i t o u t . ' In ' 7 2 ' s Space is th e Pla ce, an o ffs c r e e n v o i c e a s k s : ' W h a t i s t h e power o f your m a c h i n e ? ' j u m p c u t to Sun Ra fra m e d a g a i n s t a b l u e b a c k d r o p , a s h e a n sw e r s : ' M u s i c . ' C a l m l y, w i t h s o ft h e s i t a t i o n , a n e l a b o ra t i o n : ' T h i s m u s i c i s a l l p a r t o f a n o t h e r t o m o r r o w . S p e a k i n g t h i ngs o f b l a c k n e s s . A b o u t t h e v o i d , t h e e n d l es s void, the bottom l ess pit s u rrou n d i n g you. It's the music o f the S u n a n d t h e S t a r s . Y o u ' r e a l l i n s t r u m e n t s . E v e r y bo d y ' s s u p p o s e d t o b e p l a y i n g t h e i r p a r t i n t h i s v a s t a rk e s t r y o f t h e c o s m o s . '

1 0[ 1 64 ] C O S M O L O GY O F VO L U M E The Co s m i c C o m m u n i c a t i o n s M e d i u m i s a n Evo l u t i o n E n g i n e : A l i ce Coltrane Th e a u di e n ce fo r yo u r art h a s n ' t e ve n b e e n b o rn ye t J ulian Schnabel to Jean Michel Basquiat ' I t ' s l i ke rewr i t i n g t h e B i b l e ! ' F o r R a s h i e d A l i re m i x o l ogy is b l a s p h e m y . A l i ' s a v e r s i o n to A l i c e C o l t ra n e ' s '72 L i ving Spa ce [A lice Col trane Rem ix] i s an i n d e x o f t h e r e v e r e n c e p e t r i fy i n g j oh n C o l t r a n e ' s r e p u t a t i o n a n d m u s i c , a ft e r h i s d e a t h i n ' 6 7 , i n t o a s i n g l e m a s s o f c a l c i fi e d s a i n t h o o d . The S o n i c i s r e n d e r e d i n t r i n s i c a l l y e t h i c a l , i m m e d i a t e l y m o r a l . R e m i x o l o gy i s b l a s p he m y for a l te r i n g t h e t a p e s , for d e r e a l iz i n g t h e rea l t i m e o f T h e S o n g . B u t t h e Li ving Space Remix i s n o n e t h e l e s s d e v o u t , a m i ra c u l o u s m o s a i c o f cere m o n i a l s t r i n g s , a n a s tra l i ze d p r o c es s i o n o f t a m b o u ra d r o n e s a n d c h i m e s . T u r b u l e n t t i n t i n n a b u l a t i o n h e a v e s i n w a v e s t h a t p a r t l i ke t h e R e d S e a ; h a r p s p l u m e l i ke t h e s p u m e o f s p e r m w h a l e s o f f t h e G a l a p a g o s A rc h i p e l a g o ; a s t r i n g e n t s a x s q u e a l s l i ke a p i g b e i n g s ke w e r e d .

10[ 1 6 5 ] Remixology is Reincarnation E v e r y A l i ce C o l t r a n e a l b u m i n t en s i fi e s t h e s a n c t i fi c a t i o n p r o c e s s t h a t J o h n s t a r t e d . F o r A l i ce , re m i x o l o gy i s n o t h e r e s y b u t r e i n c a r n a t i o n , a r e s u r r ec t i o n t e c h n i q u e i n w h i c h s o u n d s a r e rem a t e r i a l i z e d a s s p i r i t s o n t a p e . ' 7 2 ' s Infinity a m p l i fi e s a fi c t i o n a l j a zz i n w h i c h J o h n C o l t r a n e i s reborn a s Ohnedaruth to play a t A l i c e ' s c e l e s t i a l s p i r i t-symphony. The i n s i d e - s l e e v e p i c t u re s h o ws a l i n e u p t h a t n e v e r e x i s t e d , e l ec t r i c g h o s t s p l a y i n g p h a n t o m j a zz i n t a p e s p a c e - t i m e . T h e S l e ev e n o t e s a r e s i gn e d b y J o h n , b u t r e a d a s A l i c e . T o l o o k a t t h e f r o n t s l e e v e i s to fa l l t h r o u g h fra c t a l i z e d s t a i n e d g l a s s i n to n e s t e d form a t i o n s o f s p i r a l s w i t h i n s p i r a l s , kalei doscopic iterations as blue as mother sky. O h n e d a r u t h [J o h n C o l t r a n e ] r e p a i r e d t o a c i t y o f s h i n in g ra di a n ce s i t u a t e d n e a r a p o in t i n s p a c e wh e r e s t a n d s a m a m m o t h c o l o s s u s o f t h r e e w o r l d s A l i c: e Coltr a n e E lectric E levation M a r s h a l l M c L u h a n : ' E l e c t r i c c h a n n e l s o f i n fo r m a t i o n h a v e t h e e ffect o f reducing [or elevati ng[ people to the d i s i ncarnate status o f instant i n fo r m a t i o n . We a r e t r a n s p o r t e d e l e c t r o n i c a l l y a n d b o d i l y . ' L i ke B r u c e L e e , D i a n a , E l v i s , E v i t a a n d M a l c o l m X , ' e l e c t r i c m e d i a h a s l i t e ra l l y t ra n s l a te d ' C o l t r a n e i n to a r e c o r d i n g a n g e l . E l e c t r i c J a zz t r a n s p o r t s C o l t r a n e b a c k to E a r t h , t r a n s m a t e r i a l i z i n g h i m i n to s o n i c i n fo r m a t i o n . I n a p r o c e s s w h i ch b e g i n s w i t h h e r ' 6 8 Monas tic Trio, w h e r e J o h n b e c o m e s a t r a n e s o n i c fo r c e , A l i ce u s e s t h e m e d i u m o f C o s m i c J a zz t o a r t i fi c i a l l y e v o l v e J o h n i n t o a s e r i e s o f E l ec t r i c G o d s , p a s s i n g t h r o u g h a s u c c e s s i o n o f n ew v i b r a t i o n a l u n i ve r s e s .

10[ 1 6 6 ] C o s m i c e n e rgy - a t o m ic , t h e p ri m a ry s u b s t a n c e composing m a t te r and spirit Alice Coltrane G a l a c t i c T e t r a l o g y < >J a z z D e i f i c a t i o n I n ' 7 2 ' s L ord of Lords, p e n u l t i m a t e i n h e r G a l a c t i c j a zz Te t r a l o g y , A l i c e r e n a m e s h i m S r i R a m a O h n e d a r u t h , t h e god w h o s e n a m e m e a n s U n i ve r s e Wo r l d C o m p a s s i o n . j o h n i s b e i n g s y n t h e t i c a l l y s p i r i t u a l i z e d i n t o a s t u d i o d e i ty : ' B e fo r e O h n e d a r u t h ' s i n i t i a t i o n w h e r e h e r e c e i v e d t h e n a m e o f S r i R a m a . h i s a s t r a l g l o b u l e m a n i fe s t e d i n m y b e i n g f o r m y u s e e x p r e s s l y i n m u s i c . I t i s t h e s a m e c o n t a i n e r o f g r o s s , e l e m e n ta l s a n d c o s m i c m a t e r i a l s h e u s e d w h i l e l i v i n g o n e a r t h , w h i c h h e n o l o n g e r h a s a u s e for n o w t h a t h e p re s e n t l y m o v e s a n d w o r k s i n a f i n e r , l i gh t e r e t h e r e a l b o d y . ' By L ord of Lords, C o l tra n e h e r s e l f h a s b e c o m e T u r i y a A p a r n a . O n t h e c o v e r . h e r h e a d s i n k s b a c k i n to a h a l o o f h e r h a i r , h e r f a c e w r a c k e d by t h e r a p t u re s o f c r e a t i o n . S h e ' s c l o a k e d in a k a f t a n t h a t d ra p e s the s t u d i o . T h e C r e a t o r d i s s o l v e s t h e ego b e c a u s e h i s ' e m b r a c e i s s o l o v i n g a n d t h e b l i s s from i t s o e x t r e m e , t h e h u m a n b o d y c a n i n n o w a y w i t h s ta n d t h i s . . . ' T h e C o l t r a n e s u n s h i p h a s s p a c e w r e c k e d i n i n te r s te l l a r s p a c e . O n A n dromeda 's Suffering, A l i ce C o l t r a n e l e a v e s i n t e r s te l l a r s p a c e b e h i n d f o r t h e m e t a ga l a c t i c c o s m o s : ' A n d r o m e d a i s a s u p e r g a l a xy i n t h e U n i v e r s e w h o s e r a y s e x t e n d two b i l l i o n t i m e s b r i gh te r a n d d e e p e r t h a n t h e l i g h t f r o m t h e s u n o f o u r s o l a r s y s te m . I n t h e m e t a g a l a c t i c c o s m o s , m i gh t y A n d ro m e d a i s t h e c e l e s t i a l , e t h e r i c h e a r t i n t h e g r e a t c o s m i c B o d y o f t h e L o r d . I n s i d e t h i s m a gn i fi c e n t s u p e r s t r u c t u r e o f s p i ra l l i n g s t a r s , t h e s u ffe r i n g a n d s o rrows o f h u m a n i t y b u r n b r i g h t l y a n d p r o fu s e l y e v e r y d a y, a n d a r e d e e p l y fe l t w i t h t h e h e a r t o f t h e d e a r L o rd . ' Celestial Orchestra tion T h o u g h t h e w e a k e s t i n t h e Te tra l ogy, L ord o f L o rds h a s t h e m o s t l a v i s h a r r a n g e m e n t s , A l i c e c o n d u c t i n g a 2 4 - p i e ce s t r i n g s e c t i o n p l a y i n g orga n , h a r p , t y m p a n i , c e l e s t i a l s t r i n g s s a t u r a t i n g t h e s o u n d fi e l d : a v i s i t a t i o n f r o m S t r a v i n s ky d e l i v e r s e x c e r p t s f r o m The Firebird. I n ' 7 1 ' s World Ga laxy, t h e s e c o n d in t h e G a l a c t i c Te t r a l ogy, A l i c e C o l t r a n e w i t h S t r i n gs t ra n s m u t e s j a z z i n to a c e l e s t i a l s y m p h o ny. S t r i n g a r r a n g e m e n t s d rown y o u i n s e n s a t i o n s o f t h e c o l o s s a l , t h e a r c h a i c , t h e c e r e m o n i a l . H e r g u r u Sw a m i S a t c h a d i n a n d a n a r r a t e s L o ve i s a Sacred Word, i n trod u c i n g her A L o ve Supreme r e m i x , a 9 m i n 5 8 s e c o n d

10[1 6 7 ] c o m p re s s i o n o f C o s m i c J a z z , s o l a r o r g a n fe ed b a c k , a v a l a n c h e o f h a r p s , i n s i n u a t i n g t a m b o u ra d r i l l , h e a v y r o c k d r u m m i n g a n d p e r c u s s i o n s h o w e r s . G a laxy around Oludumare m e a n s t h a t t h e e l e c t r i c e n e r g y o f J o h n . . Q i u d u m a re i s n o w a n e l e c t r i c S u n a r o u n d w h o m a ga l a x y t u r n s . G a laxy i n Turiya a n d Galaxy i n Sa tchadananda e x p a n d t h e e n ergy o f A l i c e " Tu r i y a a n d t h e Swa m i i n to s t a r s c o n ta i n i n g g a l a x i e s , s u p e r n e b u l a e i n s i d e w h i c h t h o s e ga l a x i e s t u r n . Tra n s o n i c E n e rgy F i e l d I n 7 1 s Uni versal Conscio usness, fi r s t i n t h e G a l a c t i c J a zz Te tra l ogy, A l i c e ' ' r e n a m e s h e r s e l f Tu r i y a A p a r n a . O n t h e s l eeve s h e t h a n ks G o d fo r h e r ' e x traord i n a ry t ra n s o n i c a n d a tm o s p h e r i c a l p o w e r w h i c h s e n t forth i l l u m i n a t i n g wo r l d s o f sound i n to the aethers o f this u n i v e r se . ' Tra n s o n i c b e i n g t h e n e x t l e v e l u p from s u p e r s o n i c , the n e a r e s t t o t h e s p e e d o f s o u n d . H ere j a z z i s tra n s m o l e c u l a r i zed i n to a C o s m i c m u s i c t h a t ' e m b ra c e s c o s m i c t h o u g h t a s a n e m b l e m ' o f w h a t J o h n t e r m e d U n i ve r s a l S o u n d . A fter P h a s e 1 , C o l t ra n e ' s E n ergy M u s i c , a n d P h a s e 2 , his theories o f U n i v e r s a l S o u n d , Universal Consciousn ess s t a r t s P h a s e 3 o f cos m i c t h o u g h t . Ta m b o u r a T r a n s m i t t e r To A l i ce , t h e t a m b o u r a t o n e ' i s r e m i n i s c e n t o f s p h e r i c a l h a r m o n y ' b u t h e a r d n o w , i t e m i ts a d r o n e l i ke a p o w e rd r i l l v i b r a t i n g i n s i d e a h i gh l e v e l ra d i o a c t i v e z o n e . U n i v e r s a l h a r m o n y d o e s n ' t t ra n q u i l i z e ; i t h u r t s . O n Sita Ram, Tu l s i ' s t a m b o u r a i s a t h i n w i re of s o u n d i n s e r t e d t h r o u g h y o u r e a r s , a p o w e r s a w e m i t t i n g t r e b l e u l t r a - freq u e n c i e s , r a y s o f a m p l i fi e d O p A r t l i k e B r i d ge t R i l ey ' s ' 6 2 Phase. The i n n e r s l e e v e s h o w s A l i c e C o l t r a n e c r o s s l e g g e d , a r m s e x t e n d e d i n m e d i t a t i o n , a h u m a n s a t e l l i t e d i s h r e a d y to r e c e i v e . A m p l i fi e d , t h e t a m b o u r a i s a fo r k t h a t t u n e s h e r e n s e m b l e i n t o a u n i v e r s e o f s p h e r i c a l h a rmony. S o l a r i zed by d e s i g n e r Ph i l i p M e l n i c k , A l ice C o l t r a n e i s f l o o d e d i n y e t t r a n s m i t t i n g c o r o n a s o f b l a z i n g l i g h t . H e r a fro b u r n s i n a si lver supernova.

10[ 1 6 8 ) sh e is a vector, a furth e r e arth explora tion A m e e r B a raka The C o n c e p t e c h n i c s of P r i m a u d i a l T e c h n o l o g y W i t h A l i c e C o l t r a n e , t h e j a zz c o m p o s e r b e c o m e s t h e e l ec t r i c tra n s m i t t e r . I n h e r G a l a c t i c Te tra l ogy, r e c o r d i n g b e c o m e s a p r i m a u d i a l t e c h n o l ogy. T h e c o s m o s i s an i n fi n i t y o f e n d l e s s l y r e v e r b e ra t i n g v i b ra t i o n s . T h e u n i ve r s e b e g i n s i n s o u n d . T h e r e fo r e n e w s o u n d e n g i n e s c a n a m p l i fy n e w u n i v e r s e s i n to re s o n a n c e . L o n g - d i s t a n c e t e l e co m s y s t e m s i n te n s i fi e s s e n s a t i o n s o f i m m i n e n t R e ve l a t i o n . A m p l i fi c a t i o n p l u s o r c h e s t ra t i o n = c o s m i c co m m u n i c a t i o n s m e d i u m . G a l a c t i c j a zz i s a s a te l l i t e d i s h , a n a v s a t for r e c e i v i n g - t ra n s m i t t i n g e n e r g i e s . I t b e c o m e s a n Evo l u ti o n E n g i n e t h a t m a s te r s t h e m a ke r . t h a t m a n u fa c t u r e s e l ec t r o n i c s o u l s . E a c h a l b u m crosses a threshold of the trans o ni c, the etheric, the cosmic­ u n i v e r s a l , t h e g a l a c t i c , t h e m e t a ga l a c t i c . Ascension i n t o A s t ro Jazz H e r s t a rt l i n g t i t l e t r a c k Uni versal Consciousness d o e s n ' t s o m u c h u p d a t e t h e a r c h e t y p a l H o l l yw o o d 5 0 s s c o r e a s a r c h a i z e i t e v e n fu r t h e r . C e l e s t i a l s t r i n g s i nv e s t s t h e B i b l i c a l s u b l i m e w i t h a s u d d e n s e r i o u s n e s s . L i ke a B r o n x a c c e n t i n B e t h l e h e m B C , i t a n a c h r o n i z e s y o u . 5 0 s w i d e s cr e e n B i b l i ca l e p i c p i t c h be n t i n to B o l l yw o o d t o n e s . C o l tra n e t u r n s t h e o r g a n i n t o a s o l a r e n g i n e . H e r l e a d i n s t r u m e n t i s t h e o r g a n p e d a l , g e n e ra t i n g s h e e t s o f fe e d b a c k , o f a n g e l s o n f i r e . The e l e c t r i fi e d o r g a n f l o o d s y o u i n s e n s a t i o n s o f c e r e m o n i a l s o l e m n i ty , t h e r e g a l p r o c e s s i o n o f swa y i n g p a l a d i n s . I n Hare Krishna, C o l t r a n e u s e s the o r g a n b a s s p e d a l s u n t i l the o r g a n h u m s l i ke a s u b l ev e l p o w e r s t a t i o n . Wars of Armageddon g e n e r a t e s a t o w e r o f d u b a c r o s s w h i c h s h e e t s o f d i s to r t i o n s h a t t e r , w h i l e The A nkh of A m en Ra s u s ta i n s s o l a r s t r a t a a c ro s s w h i c h fuzz f l a r e s a n d f l i c k e r s . O n Uni versal Consciousness, j a zz b e c o m e s t u r b u l e n ce , s t r a t o s p h e r i c o r g a n c h o r d s t h a t o p e n a h o r i z o n i n t h e e a r , s tretch t h e s u n l i n e to t h e c l o u d s . V i o l i n s , h a r p , perc u s s i o n a r e s u cked u p w a rd s , wre n c h i n g the c a l m i n to a per p l e x i n g t s u na m i . O m A llah o p e n s w i t h a My Fair Lady type v i o l i n - d u e t w i t h bowed b a s s d e s c e n t s . C o l t r a n e u s e s o r g a n p ed a l s t o s u s t a i n a r a d i o a c t i v e b a s s d r o n e t h a t pea l s o ff i n to b u r s t s o f r a p i d - e a r fu n k . A m p l i fi c a t i o n e x p a n d s t h e s p e c t r u m o f t r a n q u i l i ty. T h e s e r h y t h m s a r e brushes i n rotary motion, wind chimes, cymbal s h i mmering intermi ttence.

1 0[ 1 6 9 ) C o s m i c M u s i c I s a M y s t i c Sys t e m O n t h e f i r s t r e l e a s e a ft e r J o h n ' s d e a t h , ' 6 8 ' s A Mona s tic Trio, w h e n A l i c e i m m e d i a t e l y re n a m e d h i m O h n e d a r u t h t h e M y s t i c , j a z z d i s a p p e a r s i n to t h e a c o u s t i c c a l m o f h a r p , d r u m s a n d b a s s on Oceanic Beloved a n d A tomic Peace. T h e c a d e n ce a n d c a s c a d e s o f A tomic Peace a r e t h e a ft e r m a t h o f t h e roa r i n g s q u a l l o f Th e Sun, from J o h n ' s ' 6 6 Cosmic Music. The i n s i d e s l eeve of the c o l l a bo r a t i ve Cosmic Music s h ow s j o h n d w a rfed a ga i n s t t h e p l a n e t reversed i n t o n eg a t i v e : ' H e a l wa y s fe l t t h a t s o u n d w a s t h e f i r s t m a n i fe s ta t i o n i n crea t i o n b e fo r e m u s i c , ' C o l t r a n e e x p l a i n e d i n t h e S l e e v e n o t e s to h e r ' 6 8 d e b u t A Monas tic Trio. ' H e w a s d o i n g s o m e t h i n g f r o m a m a p h e d rew - s o r t o f l i ke a g l o b e - t a k i n g s c a l e s f r o m i t , ta k i n g m o d a l t h i n g s f r o m i t . T h e c h a r t j o h n d e s i g n e d w a s a m u s i c a l o n e w i t h 1 2 t o n e s c o r re l a t i n g to t h e 1 2 zod i a c a l s i g n s . ' I a m l o o k i n g fo r a u n ive rs a l s o u n d John Coltrane N u cl e a r M y s t i c i s m F o r j a zz t o b e c o m e a U n i ve r s a l S o u n d i t h a s t o b e c o m e a n e l e m e n t a r y s c i e n c e . B y a t o m i z i n g j a z z i n t o s o n i c m a t t e r , t h e U n i ve r s a l S o u n d w i l l h a r n e s s t h e i m p a c t o f s p l i t t i n g a t o m s . j o h n C o l t r a n e i s w h a t Tec h n o A n i m a l t e r m t h e M i gh t y A t o m S m a s h e r . O n t h e o u t s i d e o f Cosmic Music j o h n s t a r e s from a b l a s t e d g l o b e . The r i g h t h a n d s i d e of B y r o n G o t o ' s g a t e fo l d s l eeve s h o w s h i m i n p e n s i v e T h i n ke r m o d e , s u rr o u n d e d by a t r o p o s p h ere of m u s h r o o m c l o u d s , M a rt i n L u t h e r K i n g , s o l a r i z e d f i g u r e s i n s u i ts , s i l ve r fa c e s r e v e r s e d l i ke N a g a s a k i s h a d o w s . O n t h e o t h e r s i d e i s a p o l y t h e i s t i c s w a s t i k a , c o m b i n i ng B u d d h i s t , I s l a m i c , C h r i s t i a n g o d h ea d s . O n t h e b a c k i s a s o l a r s p h e r e , i t s c e n t r e a n u m i no u s red . A ft e r t h e p l a n e t a r y e x p l o s i o n , Monas tic Trio's A tomic Peace i s l i ke t h e h u s h t h a t fa l l s o n b l a s t e d c i t i e s , t h e c a l m o f t h e r a z e d r u i n . A l i c e fo reca s t s a N u c l e a r S u b l i m e : ' I d o w i s h fo r t h e d a y t h o u g h ; w h e n a l l m u s i c , a l l p h a s e s o f m u s i c u n d e r t h e i r v a r i o u s n a m e s a n d fo r m s a r e tra n s m u te d a n d s u b l i med . '

10(170] N u cle a r de a t h give s u s b a ck a m y t h o logy o n t h e u n i v e r s a l l e v e l , i t p r o m o t e s a n e w h u m a n i s m fo u n d e d on des truction Sylvere t o trin g e r Jazz d u ri n g t h e P a x R t o m i ca j o h n C o l t r a n e ' s ' 6 5 Ascension / Version I/ i s A t o m i c Age j a zz - a c o n t ro l l ed e x p l o s i o n , a n a t o m i c d e t o n a t i o n b l a s t s u s t a i n ed a n d i n te n s i f i e d o v e r 2 s i d e s . As h a rr o w i n g a s t h e t h o u g h t o f s k i n f l a y e d a l i v e by t h e b a c k d r a f t o f t h e N a g a s a k i b o m b , i t ' s n o t s o m u c h l i s te n e d t o a s w i t h s to o d . As A . B . S p e l l m a n p o i n t ed o u t , t h i s ' p l e x u s o f v o i c e s ' i s d e s i gn e d ' t o e m p t y h i s a u d i e n c e ' s s p i r i t u a l r e s e rvo i r ' u n t i l ' y o u r n e rv o u s s y s t e m h a s b e e n d i s s ec t e d , o v e rh a u l e d a n d r e a s s e m b l e d . ' A t 4 m i n s i n to S i d e 2 . s o u n d b l o cs p u l v e r i z e e a c h o t h e r , m a s s i n g e n e r g y p e a k s . I n t h e S l e e v e n o t e s to Ascension, A r c h i e S h e p p t h e o r i s ed t h e b r e a k t h r o u g h i n t o a u n i fi e d e n ergy f i e l d : ' M o s t o f t h e p l a y i n g i s a b o u t e n ergy a n d s o u n d . M i l e s w a s a b l e to c r e a t e t h e e n s e m b l e e ffe c t u t i l i z i n g _ m o d e s . j o h n g a v e i t t h e d i m e n s i o n o f e n e rgy a n d c r e a t e d b l o c s o f s o u n d . ' B l a r i n g s o n i c m a t t e r i s d re d g e d u p , d r i v e n by c y m b a l l i c e x p l o s i o n s w h i c h l e v e l o u t i n t o t h e p l a te a u p h a s e o f a n e w p s y c h o a ffe c t i v e s t a t e . S h e p p d rew a n a n a l o gy to ' w h a t t h e a c t i o n p a i n t e r s d o i n t h a t i t c r e a t e s v a r i o u s s u r fa c e s o f c o l o r w h i c h p u s h i n t o e a c h o t h e r , c r e a t e s t e n s i o n s a n d c o u n t e r t e n s i o n s , a n d v a r i o u s f i e l d s o f e n e r gy . ' Tu r n i n g j a z z i n t o E n e rgy M u s i c m e a n t t h e e x p l o r a t i o n o f ' t e x t u re s r a t h e r t h a n t h e m a k i n g o f a n o r g a n i z a t i o n a l u n i ty . Y o u c a n h e a r i n t h e s a x o p h o n e s e s p e c i a l l y , rea c h i n g for s o u n d a n d a n e x p l o ra t i o n o f t h e possib i l i ties o f sound . ' B y d o u b l i n g a l l h o r n s , T h e j o h n C o l t ra n e O r c h e s t r a ' s 3 t e n o r s a x e s , 2 a l t o s a x e s , 2 t r u m p e t s , 2 b a s s e s , d r u m s , p i a n o a m p l i fi e s j a zz i n to a s u n s h i p p o w e r e d by t h e h y d ra u l i c e n g i n e o f l u n g p o w e r . A s B e n S i d ra n rea l i z e d i m m ed i a te l y , ' C o l t ra n e ' s s tr e s s o n i n n e r s t r e n g t h o n t h e l i n e r n o t e s o f h i s A L o ve Suprem e a l b u m ' b e c o m e s a n e n e r g e t i c s o f sound, ' a com p l e x t h e o r y o f e n e r g y p l a y i n g ' conceptua l i zed by Shepp and Pharoah Sanders. Ascensio n ' s s u rg e s , l i ke t h o s e o n O r n e t t e C o l e m a n ' s Free jazz o r E g y p t i a n E m p i r e ' s Th e Horn, b u i l d t o w a r d s p l a n e s w h e n a l l t h e h o rn s s y n c h i n a p o w e r s u r g e , t h e b e l c h i n g e x h a u s t fu m e s o f a c o l o s s a l r o c k e t a s i t t i l t s i n t o t h e a i r l i ke a v e r t i c a l c i ty . E n e r g y m u s i c e n ta i l s a n a w a ke n i n g o f t h e w o rl d : ' We ' r e t a k i n g t h e m w i t h u s . We ' re ge t t i n g r e a d y

10( 1 7 1 ] t o l e a p o ff a n d w a k e t h e s e p e o p l e u p . ' T h e v o l u m e o f d o u b l ed p e r c u s s i o n d r e w t h e m i n t o e n e r gy fi e l d s , d ra i n i n g t h e s p i r i t u a l r e s e r v o i r s S p e l l m a n p e r c e i v e d , re l e a s i n g t e n s i o n t h r o u g h c o u n t e r - te n s i o n , fl o o d i n g t h e b a r r i e r s o f c o o l u n t i l e m o t i o n g u s h e d . A s a n E n e rgy M u s i c d r u m m e r t o l d S i d r a n , ' W e a r e get t i n g t o t h e p o i n t w h e r e we c a n m a ke t h e a u d i e n c e l a u g h o r cry o r s c r e a m . ' S a n d e r s ' m u s i c e v e n c r e a t e d a n ' e n e rgy fi e l d ' t h a t m a d e t h e d r u m m e r l e v i t a te , fe e l t h a t h e w a s h o v e r i n g ' s i x i n c h e s o f f t h e f l o o r ' . D e t o n a t e d i n t h e c o n t r o l l e d c o n d i t i o n s o f y o u r r o o m , E n e rgy M u s i c i s a m i n d , b o d y a n d s o u l b o m b t h a t m e l t s d o w n p s yc h i c a r m o u r . Kiyoshi Koyama: Wh a t wo u l d you l i k e to b e ten ye a rs fro m n o w ? Coltrane: I wo u l d l i k e to b e a s a i n t Cpltrane Liquid Computer: J o h n Coltrane A m p l i fi c a t i o n is s a c r e d , the v e r t i c a l e n e r g y o f h o l y n o i s e . As S i d ra n observed, 'When john Col trane was playi ng, he was prayi ng. ' Col trane h e a r s j a z z a s a t o n a l co m m u n i c a t i o n m e d i u m . A s S i d ra n rea l i z e s , t h i s i m p l ies a new jazz consciousness i n which the sax becomes ' a n i n s trument w h i c h c a n create the i n i t i a l thought patterns t h a t c a n cha nge the thinking o f peop l e . ' I n ' 6 5 C o l t r a n e l i s t e n s to j o h n G i l m o r e from t h e A r k e s t r a , m e e t s R a , t a k e s L S D 2 5 i n t h e Fa l l . A f t e r w a r d s h e d e c l a r e s : ' 1 p e r c e i ved t h e i n te r r e l a t i o n s h i p o f a l l l i fe fo r m s , ' i m m e d i a t e l y c o n d e n s i n g M a n u e l D e La n d a ' s e x p l a n a t i o n o f L S D ' s n e u ro c h e m i c a l p r o c e s s e s : ' W h e n y o u t r i p y o u l i q u e fy s t r u c t u r e s i n y o u r b r a i n , l i n g u i s t i c s t r u c t u r e s , i n t e n t i o n a l structures. T h e y a c q u i r e a less vi scous con s i s tency a n d your bra i n b e c o m e s a s u p e r c o m p u t e r . I n fo r m a t i o n r u s h e s i n t o y o u r b ra i n , w h i c h m a k e s y o u fe e l l i ke y o u ' r e h a v i n g a r e v e l a t i o n . B u t n o o n e i s r e v ea l i n g a n y t h i n g t o y o u . I t ' s j u s t s e l f orga n i z i n g . I t ' s h a p p e n i n g b y i ts e l f . '

10[172] Vo l u m e + LSD = E n e r g y M u s i c I f S o u n d i s M y s t ery, t h e n Vo l u m e i s H o l y a n d N o i s e i s a B l es s e d S t a t e . O n J o h n ' s ' 6 5 Om, t h i s a m p l i fi e d l y s e rg i c e q u a t i o n g e n e r a t e s E n ergy M u s i c , t h e fre q u e n cy w h i c h C o l t r a n e u s e s t o t u n e i n t o t h e O m s ta t e : ' O m ' i s t h e H i n d u access c ode to the sonic origin of the un iverse. C o l t ra n e ' s m u l t i p h o n i c overd r i v e a l re a d y d e m a n d e d e x t ra h u m a n b r e a t h cyc l e s . O m d r a w s b r e a t h u p fro m t h e d i a p h ragm i n a n a u t o ­ i ns p i r a t i o n t h a t t u r n s t h e body i n t o a h u m a n res o n a t i n g c h a m ber. T h e g r o u p b e c o m e s a n O m m e d i u m , c h a n t i n g verses fro m t h e R i g Ved a : ' A n d t h e o ffe r i n g s m a d e to t h e G h o s t s o f t h e F a t h e r , t h e M a n t r a , t h e C l a r i fi e d B u tter, I a m h e w h o a w a r d s t o e a c h t h e fru i t o f h i s a c t i o n s , I , t h e O b l a t i o n a n d I t h e fl a m e , I m a ke a l l t h i n gs c l e a n , I a m O h m , O h m m O h m m . ' O * h m Swe e t O * h m F o r Col trane, O m i s a serenade to Ohm. T h e john Col trane Orchestra i s a s o n o - s p i r i t u a l g e n e r a t o r , a powe r p l a n t tra n s m i t t i n g O m p o w e r . As h i s p r o t e g e S a n d e r s i n s i s te d : ' I t i s t h e m o s t p o w e r fu l word i n t h e u n i ve r s e . ! t m e a n s G o d , i t m e a n s p e a c e , i t m e a n s t h e b eg i n n i n g o f t h i n gs . ' Close-miking expands t h e noise spectrum into t h e quietude o f m e d i ta t i o n a l j a z z , c r a c k l i n g w i t h t h e i n s t a n t a r c h a i s m o f p r i m a u d i a l s o u n d : t h e t r a n s i e n t t o n e s o f b e l l t r e e s , w o o d b l o c k s , c y m ba l l i c sussuration, a desolate calm. Yo u ' re i n s i d e t h e s t o r m , a s s a i l e d b y s c r e e s o f S o n o M a t t e r . At r o . J O , the Orchestra chant 'Om, Om' i n a dazed despa i r , a s i f t h e y ' r e d rown i n g . A t r z . J J , e e r i e s a x e c h o e s a S u n R a t re m o l o . A t 1 5 . 0 7 , l o w i n g s o u n d s : u n l o c a ta b l e t e x t u r e s w o o p s a n d t u m b l e s j u s t l i ke t h e h o r n e t s o f a S u n R a s y n t h t o n e . B ow i n g v i o l i n , s q u a b b l e s , b u i l d i n g t e n s i o n i n w a v e s t h a t c o n t r a c t a n d r e l e a s e u n t i l y o u fe e l a s t r a l i z e d . By the fi n a l c h a n t , a l l v o i c e s are d r a i n e d , g u t t u ra l . T h e Psychotechnics of E nergy M u s i c W i t h t h e ' 6 5 E n e rgy M u s i c Tr i l ogy Om, Ascension a n d Kul e S e Mama, j o h n C o l t r a n e e n g i n e e r s t h e S o n i c D e s i g n fo r t h e A fr o n a u t and the h i p p i e . T h e P s y c h oTec h n i c s of E n e rgy m u s i c fu n c t i o n t h r o u g h t h e n e u r a l c i r c u i t t h a t B e n S i d r a n d i a g ra m m a t i z e s , f o r h o w t h e f u t u r e fe e l s : ' T h e t i m e fee l i n g C o l t r a n e g e n e r a t e d c r e a t e d a new k i n d o f t e n s i o n t h a t d i d not reso lve at t h e e n d o f bars or i n expected p l aces. T h i s i n turn created n e w a n t i c i p a t i o n s i n t h e l i s te n e r a n d m u s i c i a n s b e g a n l i ke n i n g t h i s n ew fee l i n g to " freed o m " . ' To m o r r o w every A fro n a u t a n d e v e r y h i p p i e w a k e s

10[ 1 7 3 ] u p t o a U n i ve rs a l S o u n d . Kule S e Mam a ' s d r u m ro l l s , p e r c u s s i o n r i l l s , b r u s h e d c y m b a l s a n d b e l l s g i v e a h a l l ow e d t i n t i n a b u l a t i o n . A t 1 3 . 1 4 , s a x p l a y s a 2 - n o t e r e fra i n , fo r l o r n a n d d y i n g . j u n o Le w i s i s i n toning: ' S o we sang t h i s meee-l oooo d e e e ' , drawing o u t vowe l s , s w i tc h i n g to fi c t i o n a l C e n t r a l A f r i c a n c h a n t s . S a n d e r s a n d C o l tr a n e overd rive the tenor sax, hitting a p o i n t a t 7- 55 when the sound b l i sters, b o i l s , b e c o m e s a g i a n t s t e a m - p ow e r e d s u n s h i p h e a v i n g i t s g h a s t l y b u l k i n t o l i ft - o ff. B a s s c l a r i n e t i n s i n u a t es s n a ke t o n e s , a s 2 b a s s e s s o u n d l i ke e c h o i n g S u n R a s y n t h s . B a s s i s t A r t D a v i s h e a rd m o r e i n t h i s m e t a m o r p h i c e f fe c t : ' I a l wa y s t h o u g h t u s i n g t w o b a s s e s s o u n d e d l i ke a n A fr i c a n w a t e r d r u m , l i ke t h e d ro n e e f f e c t o f a n I n d i a n t a m b o u r a . S o m e t i m e s w e ' d s o u n d m o r e l i ke two m e m b e r s o f a s t r i n g q u a rt e t t h a n b a s s i s ts . ' Shooting the S u n with a M i n iature Sextant: P h a r o a h S a n d e r s · Navigational Alignment W i th t h e 3 0 - m i n d o o m s d a y d ec r e e o f O u t o f this World from ' 6 6 ' s L i ve in Sea ttle a n d t h e m e rc i l e s s m o n o t o n y of Sa turn, Mars, Venus a n d jupiter o n ' 6 7 s In ters tellar Spa ce, j o h n C o l t r a n e r e a c t i v a t e s t h e p r e d e s t i n a t i o n o f ' a s t r o l ogy. E n ergy M u s i c b e c o m e s U n i v e rs a l S o u n d w h i c h m a ke s a u d i b l e t h e c o s m i c o r d e r , fore h e a r s t h e m a s t e r p l a n i n a n a c t o f c l a i ra u d i e n c e . Astrological Consciousness A s t r o l ogy a s s u m e s a h u m a n • • co s m i c i n te r f a c e , a r e m o t e - d i s ta n c e l i n k - u p b e t w e e n h u m a n a n d s t a rs i g n . U n i v e r s a l S o u n d n e e d s a n o p e r a t i n g s y s t e m l i ke t h e c h a r t C o l t r a n e d e s i g n s , w h i c h i s ' a m u s i c a l o n e w i t h 1 2 t o n e s c o r re l a t i n g t o t h e 1 2 zod i a c a l s i g n s . ' A s t r o l ogy i s a r e m o t e - d i s t a n c e prophetic system that col lapses past and present, a revived archaic tech t h a t g i v e s i ts c o d e o p e r a t o r p r o p h e t i c c a p a b i l i t i e s . C o n s te l l a t i o n s p r e p rogra m fu t u r e s . S a n d e r s ' a s t ro l o g i c a l t r a c k s - Sun in A quarius {Par t 1 Ei Part 2/, Capricorn Rising - i n d u c e t h e s e n s e of v a s t p l a n e ta r y b o d i e s m o v i n g s l o w l y i n to fa t e f u l c o nj u n c t i o n . T h e S a n d e r s a l b u m l e a v e s t h e s u n s h i p b e h i n d to go a s tra l t r a ve l l i n g . For A l i ce C o l t r a n e a n d S a n d e rs n o n e o f t h e f u t u r e , t h e p r e s e n t a n d t h e p a s t e x i s t . H i s t o r y i s i m m e d i a t e l y s wa l l owed b y p r i m a u d i a l t i m e

1 0[ 1 74 ) o u t s i d e c h r o n o l ogy . To m o rrow i s a m o m e n t i n a m a s t e r p l a n . a d e s i gn for l i fe w h i c h the t r a c k y o u p l a y r e v e a l s in t h e p r e s e n t . A m p l i tu d e Al l a h Vo l u m e i s a n e n e rge t i c fo r c e , a c i rc u i t o f s p i r i t u a l v i b r a t i o n t h a t c h a n n e l s t h e u n i v e r s a l o r d e r . a m p l i fi e s t h e c o s m i c p r o g r a m t h a t o p e r a tes t h e h u m a n . In The Crea tor Has A Master Plan, S a n d e r s i s t h e s e c re t a ry to t h e s p i r i t s , the h u m b l e t r a n s m i t t e r o f t h i s e n e r g y ; i n Let Us G o in to th e House of the L ord. h e ' s t h e r e v e re n t i a l d i s c i p l e . T h e p r a y e r fu l i n s p i r i n g b r e a t h c a r r i e s i n t o t h e l s l a m a s o n i c p r a y e r o f Hum A llah - Hum A llah, Hum A llah. ' I n a l l r i t u a l s o n g t h e re is t h a t s l ow b e a t , t r y i n g to c a l l t h e G o d s , ' a S a n d e r s d e v o t e e e x p l a i n s t o Va l W i l m e r . ' T h e r e ' s n o r u s h . I t ' s a s l o w p r o c e s s a s t h o u g h o n e i s p r a y i n g . · O n e o f S a n d e r s ' gro u p d e s c r i b e d him a s 'having a h a l o ' when he p l a yed. Z o d i a c I n ter f a ce j a zz b e c o m e s a n a m p l i f i e d z o d i a c , a n e n e rgy g e n e r a t o r t h a t l i n e s y o u u p i n a ste l l a r tricho tomy o f human, s o u n d a n d starsign. Al ice Coltrane a n d S a n d e r s a re p l a y i n g i n t h e r h y t h m o f t h e u n i v e r s e a c c o r d i n g to s t a r c o n s t e l l a t i o n s t r a n s p o s e d i n t o r h y t h m s a n d i n t e r v a l s . A l i c e ' s s t a te o f Uni versal Consciousn ess o c c u r s w h e n t h e e l e c t r i c u n i ve r s e h a r m o n i ze s i t s a u d i e n c e . E l e c t r i f i c a t i o n . I n d i a n t o n e s a n d a r r a n g e m e n t s c o n v e rge o n j a z z u n t i l i t b e c o m e s a c o s m i c c i r c u i t d i a g r a m . A s t r o j a z z b e co m e s a s u n s h i p u p o n w h i c h the c o m p o s e r - s t a r s a i l o r t r a v e l s . H i g h E n e r g y Sta te H u m a n S u n R a , A l ice C o l t ra n e a n d P h a r o a h S a n d e r s a l l g e n e r a t e a new A fr i ca n · · A m e r i c a n s u bj e c t , t h e p r i m a u d i a l h u m a n . The holy being of S a n d e r s ' Black Uni ty, o f R a ' s Astra Black. o f R o l a n d K i r k ' s Bla ckn uss a n d Black Mys tery Has Been Re vealed, l i ves i n a wor l d w h e r e m e n t a l t e n s i o n a n d m u s cu l a r tors i o n d i s s o l ve i n a c o n f l u e n ce o f h i g h - fi d e l i ty fa i t h s . Black Mys tery Has Been Re vealed is a m y s tery d r a m a for t i p t o e i n g b a s s a n d t a p e ­ s p l i c e : ' A a a H A A a . . . T h e c a s e o f the M y s tery B l a c k N o tes . . . t h a t h a v e b e e n s t o l e n f o r years a n d y e a rs . ' [ Strings s wirl with the flourish of a curtain dra wn back[ ' j u s t l i s t e n . . . w i t h a l l y o u r m i g h t . l i s te n ! ! ' [Bo ttle smashes] Kensing t o n : Kilburn: Norrl1amp ton: Brook Green: B e thnal Green November 1st 1 9 95 1 3 : 1 5 - j u n e 1 s t 1 9 9 7 0 1 : 4 9

R[ 1 7 5 ] M OTIO N C A P T U R E (I N T E RVI E W) ' " A fro F u t u r i s m c o m e s fro m M a rk D e r y ' s 9 3 b o o k , b u t t h e traj e c t o r y s t a r t s w i t h M a rk S i n ke r . I n 1 9 9 2 , S i n ke r s t a r t s w r i t i n g o n B l a c k S c i e n c e F i c t i o n ; t h a t ' s b e c a u s e h e ' s j u s t b e e n to t h e S t a tes a n d G r e g Ta t e ' s b e e n w r i t i n g a l o t a b o u t t h e i n t e r f a c e b e t w e e n s c i e n c e fi c t i o n a n d B l a ck M u s i c . T a t e w r o t e t h i s r e v i e w c a l l e d ' Yo H e r m e n e u t i c s ' w h i c h w a s a r e v i e w o f D a v i d To o p ' s Rap A rra ck p l u s a H o u s t o n B a k e r b o o k , a n d i t w a s o n e o f t h e fi r s t p i e c e s t o l a y o u t t h i s s c i e n c e f i c t i o n o f b l a c k t e c h n o l og i c a l m u s i c r i g h t t h e r e . A n d s o a n y w a y M a rk w e n t o v e r , s p o k e to G re g , c a m e b a c k , s t a r t e d w r i t i n g o n B l a c k S c i e n c e F i c t i o n . H e w r o t e a b i g p i e c e i n The W i r e , a rea l l y e a r l y p i ec e on B l a c k S c i e n c e F i c t i o n i n w h i c h he p o s e d t h i s q u e s t i o n , a s k s ' W h a t d o e s i t m e a n to b e h u m a n ? ' I n o t h e r w o r d s , M a r k m a d e t h e c o r re l a t i o n b e t w e e n Blade Runner a n d s l a very, b e t w e e n t h e i d e a o f a l i e n a b d u c t i o n a n d t h e rea l e v e n t s o f s l a v e r y . I t w a s a n a m a z i n g thi ng, because as soon as I read this, I thought, my God, i t just a l lows so many t h i ngs . You can c o l l a p s e a l l o f t h e s e things; science fiction a n d m u s i c , t h e y ' r e t h e s a m e . A n d t h e n from t h e r e , i t w a s p r e t t y m u c h o u t . I t w a s o u t - a n d v a r i o u s p e o p l e s t a r t e d u s i n g i t i n v a r i o u s ways . A n d D e r y , ' t h ro u g h t h e G reg T a t e r o u t e , s i m u l t a n e o u s l y s t a r t e d d o i n g i t i n 9 3 , b u t h e h a d n o i d e a t h a t t h e r e w a s a n y o n e i n L o n d o n fo l l o w i n g i t .

A[176] · More Brillian t than th e Sun i s a n u m b e r o f t h i n g s . F i r s t o f a l l , a t i t s s i m p l e s t , i t ' s a s t u d y o f v i s i o n s o f t h e fu t u r e i n m u s i c from S u n R a t o 4 H e r o . O n e o f i ts b i g s t r a n d s i s B r e a k b e a t s c i e n c e , a n d B r e a k b e a t s c i e n c e , a s I s e e i t, i s w h e n G ra n d m a s t e r F l a s h a n d Dj K o o l H e r e a n d a l l t h o s e g u y s i s o l a te t h e B r e a k b e a t , w h e n t h e y l i te ra l l y go t o t h e m o m e n t o f a r e c o r d w h e r e t h e m e l o d y a n d t h e h a rm o n y d ro p s a w a y a n d w h e r e t h e b e a t s a n d t h e d r u m a n d t h e b a s s m o v e s fo rwa r d . B y i s o l a t i n g t h i s , t h e y s w i t c h e d o n a k i n d o f e l e c t r i c i ty , b y m a k i n g t h e b e a t p o r t a b l e , b y e x t r a c t i n g t h e b e a t . I c a l l i t M o t i o n C a p t u r i n g : i n fi l m s l i ke jurassic Park a n d a l l t h e b i g a n i m a tr o n i c fi l m s , M o t i o n C a p t u r e is t h e d e v i c e by w h i c h t h e y s y n t h e s i z e a n d v i rt u a l i z e t h e h u m a n b o d y . T h e y h a v e a g u y t h a t ' s d a n c i n g s l ow l y, a n d e a c h o f h i s j o i n t s a r e f i x e d to l i g h t s a n d t h e y m a p t h a t o n t o a n i n t e r f a c e , a n d t h e n y o u ' v e g o t i t . Y o u ' v e l i te ra l l y c a p tu r e d t h e m o t i o n o f a h u m a n ; n o w y o u c a n p roceed to v i r t u a l i z e i t . A n d I t h i n k that's w h a t F l a s h a n d the o t h e r s d i d w i t h the bea t . T h e y grabbed a p o t e n t i a l b e a t w h i c h w a s a l w a y s t h e r e , by s e v e r i n g i t from t h e fu n k engine, by materi a l iz i n g i t as actua l l y a portion of vinyl that could be rep e a t e d . They s w i t c h e d o n t h e m a t e r i a l p o te n t i a l o f t h e b r e a k , w h i c h h a d b e e n l y i n g d o r m a n t f o r a l o n g t i m e . So I fo l l ow t h a t , t h a t i s o l a t i o n o f t h e B r e a k b e a t t h r o u g h d i ffe r e n t s p h e re s . T h r o u g h G r a n d m a s te r F l a s h a n d t h e i n v e n t i o n o f s kr a t c h a d e l i a . " W h e n s c r a t c h i n g f i r s t c a m e o u t p e o p l e t h o u g h t i t w a s a g i m m i c k fi r s t o f a l l , t h e n t h e y t h o u g h t o f i t a s a n i n te r e s t i n g e ffe c t . A n d t h e n , i f y o u l o o k i n b o o k s , w h e n m o s t p e o p l e ta l k a b o u t s k r a t c h a d e l i a , a b o u t s c r a t c h i n g on v i n y l , they say it's a rhythmic r u b b i n g of the v i n y l i n a percussive way, so a s to accompany the rest o f the song. A n d they read back v i n y l i n terms o f some kind o f rhythmic process. But actua l l y a rhythmic p r o c e s s i s n ' t r ea l l y w h a t ' s g o i n g o n . W h a t ' s g o i n g o n i s a n e w t e x t u r a l e ffec t . T h e r e ' s n o p a r a l l e l to s c r a t c h i n g ; i t n e v e r e x i s t e d b e fo r e b e i n g u s e d i n t h i s i n cr e d i b l e w a y . S c r a tc h i n g i s m o re l i ke a t ra n s fo rm a t i o n s e q u e n c e , m o r e l i ke t h e a u d i o p a r a l l e l o f The Thing o r A merican Were wolf. w h e r e you s e e t h e h u m a n t ra n s fo r m e d i n to a werewo l f, a n d j u s t b e fo r e t h e y fi n a l l y b e c o m e a werewo l f y o u s u d d e n l y g e t a g l i m p s e o f t h e h u m a n , t h e n i t f l a s h e s a w a y a ga i n . T h a t ' s w h a t s k r a t c h a d e l i a d o e s . I t's this unstable m i x of the voice and the vinyl. It's this new texture e ffec t . You c o u l d s a y t h e v o i c e h a s p h a s e - s h i ft e d i n to t h i s n e w s o u n d . S o I fo l l ow s k r a t c h a d e l i a t h r o u g h G r a n d m as t e r F l a s h i n t o E l e c t r o , w i t h a n o t h e r g r o u p c a l l e d K n i gh t s o f t h e Tu r n t a b l e . A n d I fo l l ow i t t h r o u g h t o

A[177) G o l d i e a n d 4 H e r o , s p ec i fi c a l l y i n t e r m s o f gra ffi t i , i n t e r m s o f B r e a k b e a t ' s i nv o l u t i o n v i a W i l d s t y l e . B e c a u s e W i l d s t y l e i s l i k e t h i s c r y p t o g r a p h i c l a n g u a g e , i n w h i c h t h e s i n g l e l e t te r t u r n s i n to a t y p o g r a p h i c e n v i r o n m e n t t h a t y o u e n t e r . I t ' s very m u c h a p e r ce p t u a l gy m n a s t i c s , l oo k i n g a t W i l d s t y l e . A n d t h e re ' s a b i g i n t e r f a c e b e t w e e n g r a ffi t i a n d t h e b r e a k . G o l d i e s a y s , ' M y b e a t s a r e s c u l p t e d i n 4 D , i n 4 d i m e n s i o ns . ' A n d , s i m i l a r l y, t h e r e ' s t h i s fa m o u s g r a ffi t i g u y c a l l e d K a z e 2 w h o b a c k i n ' 8 9 w a s a l re a d y t a l k i n g a b o u t t h e s te p b e y o n d W i l d s t y l e . Wildstyle was 3D, but Kaze 2 was talking about 5 dimensions, he was talking about Computer Style. H e said, ' I n my work I do the Computer S t y l e , I d o t h e s t h - d i m e n s i o n a l s te p - p a r a l l e l s t a i rc a s e . ' Th i s i s s t r a i g h t o u t o f E s c h er. S o I fo l l ow B r e a k b e a t s c i e nce r i g h t from t h i s i s o l a t i o n o f t h e r h y t h m i c D N A r i g h t t h r o u g h to i ts E s c h e r i z a t i o n , r i g h t t h r o u g h to i ts m o m e n t o f i n v o l u t i o n - a n d t h e n I fo l l o w t h a t i n to D ru m ' n ' Ba s s w h e r e , o f c o u r s e , b e c a u s e t h e b e a t s a r e d i g i t a l i z e d , i t ' s i n fo r m a t i o n t o b e m a n i p u l a te d . I fo l l ow B r e a k b e a t s c i e n ce , I fo l l o w i t t o t h e c o n c l u s i o n o f t r a c k s o f p eo p l e l i ke 4 H e r o , s p ec i fi c a l l y Parallel Uni verse, w h e r e I t u r n t h e e m p h a s i s a n d foc u s o n t h e s c i e n c e i n B r e a k b e a t . A n d t h e t h i n g I n o t i c e a b o u t B r e a k b e a t s c i e n ce , a b o u t t h e w a y s c i e n c e i s u s e d i n m u s i c i n g e n e r a l , i s t h a t s c i e n c e i s a l wa y s u s e d a s a s c i e n c e o f i n t e n s i fi e d s e n s a t i o n . I n t h e c l a s s i c a l 2 c u l t u r e s i n m a i n s t r e a m s o c i e ty , s c i e n c e i s s till t h e s c i e n c e t h a t d r a i n s t h e b l o o d o f l i fe a n d l e a v e s everyt h i n g v i v i s e c t e d . B u t i n m u s i c i t ' s n e v e r b e e n l i ke t h a t ; as s o o n as y o u h e a r t h e w o r d s c i en c e , y o u k n o w y o u ' re i n for a n in tensifica tion o f s e n s a t i o n . I n t h i s w a y , s c i e n c e t h e n refers t o a s c i e n c e o f s e n s o ry e n g i n e e r i n g , s o Parallel Uni verse a n n o u n c e s t h i s , w h e n i t h a s t i t l e s l i ke Sunspo ts o r Wrinkles i n Time. t h e s e a r e t h e p o i n t s w h ere t h e l a ws o f g r a v i t y a n d t h e l a w s o f t i m e a n d s p a c e c o l l a p s e , a n d t h ey ' re s i m u l ta n e o u s l y s a y i n g r h y t h m i s a b o u t t o c o l l a p s e w h e n y o u e n te r t h e s e z o n e s . S o y o u ' v e g o t s o m e o n e l i k e G o l d i e w h o d o e s Tim eless. a n d Tim eless i s o b v i o u s l y r e fe r r i n g to s i m p l y t h e i n fi n i te l o o p o f t h e B re a k b e a t , w h i c h G o l d i e ' s t r y i n g t o t a p i n to . " T h e n t h e r e ' s t h e s y n t h r a c e , e n t e r i n g t h e s y n t h r a c e , w h i c h i s Tec h n o , t h e w h o l e i n t e r f a c e b e t w e e n t h e f i r s t D e t ro i t g u y s a n d w h a t I c a l l t h e I m po r t E a r . T h e g u y s l i s t e n i n g t o t h i s s t u ff c o m i n g o u t o f E u r o p e , c o m i n g o u t o f E n g l a n d , l i s t e n i n g t o t h e w h i te n e s s o f t h e s y n t h e s i ze r a n d u s i n g i t b e c a u s e t h a t s o u n d w o u l d m a ke t h e m a l i e n w i t h i n A m e r i c a . T h a t ' s t h e s e c r e t b e h i n d a l l o f t h e e a r l y D e t ro i t rec o r d s . A l l t h o s e g u y s - M o d e l

A[178) s o o . C y b o t r o n - t h e y ' v e a l l g o t t h e s e a ffe c t e d F l oc k o f S e a g u l l s - ty p e a c c e n t s . W h y d o t h e y h a v e t h i s ? B e c a u s e t h e y w a n t to b e a l i e n i n A m e r i c a . H o w d o t h e y d o t h i s? B y s i n g i n g l i ke w h i t e N e w R o m a n t i c E n g l i s h k i d s . S o i t ' s t h e i d e a o f w h i te m u s i c b e i n g e x o t i c to b l a c k A m e r i c a n e a r s . S o i t ' s t ry i n g to t u r n t h e e x o t i c e y e b a c k o n t o t h e Engl i s h , beca use t h a t ' s part of the process that happened. A l s o what h a p p e n e d . Tec h n o w a s h a p p e n i n g w i t h o u t t h e r e g i s t e r i n g m a r k o f t h e U K m e d i a , w i th o u t t h e t r a d i t i o n a l s t e p s i n w h i c h A m e r i c a c o m e s o u t w i t h a n o r i g i n a l m u s i c , a n d i t ' s u s u a l l y b a s t a r d i z e d i n E n g l a n d a n d E u ro p e a n d m ixed. rem ixed, a n d then sent back. That was reversed; i n this case, i t w a s A m e r i c a b a s t a rd i z i n g , t a k i n g E n g l i s h m u s i c a n d d o i n g s t r a n ge t h i n gs w i t h i t . H e n c e t h e fa m o u s e m b a r r a s s m e n t w h e n E n g l i s h j o u r n a l i s t s w o u l d h e a d o v e r to D e t ro i t t o s a y , ' W h e r e ' s t h i s m u s i c c o m e fro m ? ' , o n l y t o f i n d o u t t h i s m u s i c h a d c o m e f r o m w h e r e t h e y ' d j u s t b e e n , o n l y to f i n d o u t t h a t they w e r e t h e o r i g i n . T h i s i s t h e f i r s t e x p l i c i t c a s e w h e r e w h i te m u s i c i s the origi n , and where the b l a c k American m u s i c i a n s who are the a d u l t e r a t o r s a n d t h e b a s t a r d i z e r s . S o Tec h n o ' s a c o m p l e t e r e v e rs a l o f t h e classic 6os myth o f the blues and the R o l l ing Stones, the entire rock h e r i tage w h i c h s t a rt s o u t w i t h t h i s fa m o u s m y t h o f M u d d y Wa t e r s a n d t h e R o l l i n g S t o n e s . I n Te c h n o , y o u ' v e g o t a n i m m e d i a t e r e v e rs a l . I n Tec h n o , K r a f t w e r k i s t h e d e l t a b l u e s , K r a ft w e r k i s w h e r e i t a l l s t a r t s . I n Te c h n o , D e p e c h e M o d e a r e l i k e L e a d b e l l y . A F l o c k o f S e a g u l l s a r e l i ke B l i n d Lemon j e ffe r s o n . S o E u r o p e a n d w h i te n e s s g e n e ra l l y t a k e t h e p l a c e o f t h e o r i g i n . A n d B l a c k A m e r i c a n s a r e s y n t h e t i c ; t h e key i n Te c h n o i s t o s y n t h e s i z e y o u rs e l f i n to a n e w A m e r i c a n a l i e n . S o I l o o k a t t h e s y n t h r a c e i n t e r m s o f v a r i o u s d e v e l o p m e n t s o f t h a t , for i n s ta n c e . t h e r e ' s a w h o l e D a r k s i d e w i t h D e t ro i t w h i c h I t a l k a b o u t . A n d t h e n I go i n to U n d e r g r o u n d R e s i s t a n c e , e s p ec i a l l y , w h o ' v e d e v e l o p e d an e n t i re war, an e n t i r e m i l i t a r y a s s a u l t , a w h o l e k i n a e s t h e t i c of war b a s e d a r o u n d t h e r e l e a s e o f t h e i r s i n g l e . H o w e a c h s i n g l e b e c o m e s l i ke a m i s s i l e l a u n c h e d i n w a r a ga i n s t t h e p ro g r a m m e r s . " B u t t h e m a i n p o i n t i s t h a t I ' m t ry i n g to b r i n g o u t w h a t I ca l l t h e S o n i c F i c t i o n o f r e c o r d s . w h i c h i s t h e e n t i r e s e r i e s o f t h i n gs w h i c h s w i n g i n to a c t i o n a s s o o n a s y o u h a v e m u s i c with n o w o r d s . As soon a s y o u h a v e m u s i c w i t h n o w o rd s , t h e n e v e ry t h i n g e l s e b e c o m e s m o r e c r u c i a l : t h e l a b e l , t h e s l e e v e , t h e p i c t u r e o n t h e c o v e r , t h e p i c t u re o n t h e b a c k , t h e t i t l es . A l l these become the j u m p -off p o i n t s for your route through the m u s i c , o r for t h e w a y t h e m u s i c c a p t u res y o u a n d a b d u c t s you i n to i t s

A[179] w o r l d . S o a l l t h e s e t h i n g s b e c o m e r ea l l y i m p o r t a n t . S o a l o t o f t h e m a i n s o u rc e s o f t h e b o o k a r e fro m S l e e v e n o t e s ; t h e y ' re t h e m a i n t h i n g . A l o t o f t h e b o o k t a l ks a b o u t S l e e v e n o t e a r t i s t s . I t t a l ks a b o u t t h e g u y s w h o d i d t h e c o v e r s for t h o s e M i l es D a v i s s l e e v e s , t h i s g u y M a t i K l a rw e i n , a n o t h e r g u y R o b e r t S p r i n g e t t , w h o d i d t h e c o v e r s fo r H e r b i e H a n co c k ' s e a r l y 7 0 s a l b u m s . T h e r e ' s d i ffe r e n t i n t e r fa c e s b e t w e e n d i ffe r e n t S o n i c Fictions, between the title and the music. Hendrix would say, 'What I ' m d o i n g i s a p a i n t i n g i n s o u n d . ' A n d y o u c a n s a y r e v e rs e l y w i t h t h e S l e e v e n o t e s . The r e a s o n t h e S l e e v e n o t e p i c t u re s c a p t u r e y o u i s b e c a u s e t h e y ' r e a s o u n d i n g i n pa i n t . I f y o u l i s te n to t h e m , y o u i m a g i n e t h e m a s w e i r d v i s i o n s conj u r e d u p t h r o u g h t h e m u s i c . I t ' s r e a l l y s t r a n g e . " Pa r t o f t h e p o i n t i s v e r y m u c h to r e v e r s e t ra d i t i o n a l a c c o u n t s o f B l a c k M u s i c . Tra d i t i o n a l l y, t h e y ' v e b e e n a u t o b i o g ra p h i c a l o r b i og r a p h i ca l , o r t h e y ' v e b e e n h e a v i l y s o c i a l a n d h e a v i l y p o l i t i ca l . M y a i m i s to s u s p e n d a l l o f t h a t , a b s o l u te l y, a n d t h e n , i n t h e s h o c k o f t h e s e a b s e n c e s , y o u p u t i n e v e r y t h i n g e l s e , y o u p u t i n t h i s h u g e w o r l d o p e n e d u p by a m i c r o p e rc e p t i o n o f t h e a c t u a l m a t e r i a l v i n y l . W h a t i m m e d i a t e l y h a p p e n s , i n a l m o s t a l l a c c o u n t s , p e o p l e i m m e d i a t e l y l oo k o v e r , t h e y l i te ra l l y l oo k o ver t h e v i n y l to w h a t e v e r t r a n s c e n d e n t l o g i c t h e y c a n u s e , i n s t e a d o f actua l l y s t a r t i n g with the v i n y l . The book i s v e r y m u c h a m a t e r i a l ization o f this. So I'm looking a t all these Sonic Fictions, I'm looking at all the d i ffe r e n t l e v e l s o f s c i e n c e t h a t e x i s t w i t h i n t h e m a t e r i a l o bj e c t . " M o t i o n C a p t u re s o u n d s l i k e a m e c h a n i c a l o p e r a t i o n b e i n g c o n d u c t e d . P a r t o f t h e t h i n g i s t h a t a l l t h e s e t e r m s a r e a l re a d y fa m i l i a r to a l o t o f u s . T h e y c o n s t i t u te a n u n o ffi c i a l m y t h o l ogy a t t h e e n d o f t h e c e n t u ry , t h i s e n t i re r a n g e o f S o n i c F i c t i o n s . T h e r e ' s p r e t t y m u c h a s h a re d l a n gu a ge a m o n g s t a w h o l e g e n e r a t i o n o f p e o p l e . T h e d i ffe r e n c e b e t w e e n t h e o v e r - 4 o s a n d t h e u n d e r - 4 o s i s a rea l fa m i l i a r i t y w i t h d i ffere n t d a t a v e r s e s o r p o l y v e r s e s s t a c ke d o n t o p o f e a c h o t h e r . T h e r e ' s a l l k i n d o f fa s c i n a t i n g i m p l i c a t i o n s , w h i c h I w a n t t o w o r k o u t i n t h e b o o k . Th i n gs l i ke t h e 2 1 s t - c e n t u r y n e r v o u s s y s te m . I f y o u go b a c k to N o r m a n M a i l e r , The Whi te Negro, h e t a l k s a l o t a b o u t b u i l d i n g a n e w n e r v o u s s y s t e m . A n d t h e n i f y o u r e a d o n a b i t t o B a l l a r d , B a l l a rd o f t e n ta l ks a b o u t t h e c o n fl i c t b e t w e e n t h e g e o m e t r y a n d p o s t u r e , t h e c o m p e t i t i o n b e t w e e n t h e a n i m a t e a n d t h e i n a n i m a t e a n d t h e w a y t h e i n a n i m a te o ft e n c r e e p s i n and wins.

A[1 80] "To m e , i t m a ke s c o m p l e t e s e n s e t o s e e a c t i o n m o v i e s i n t h e s a m e s t r a t u m a s s k r a t c h a d e l i a . T h e r e a re t h e s a m e v e l o c i t i e s , t h e s a m e vectors, the same sounds: the sound of a car as i t skids round a corner is t h e s a m e s o u n d t h e w h e e l s o f s t e e l m a k e a s t h e y r i d e a r ou n d . Y o u ' re c a p t u r e d , a b d u c t e d by t h e s a m e s o u n d s i n e a c h . I t ' s t h i s fa n t a s t i c s o u n d o f v e l o c i ty , a s 2 s u r fa c e s i n f r i c t i o n l i t e ra l l y c o n v e r g e a n d t h e n s h o o t a p a r t a t fa n t a s t i c s p e ed s . I t ' s a n i n c r e d i b l e e x c i t e m e n t . T h e s e t h i n g s a r e h a p p e n i n g c o n c u r r e n t l y - a t a n y m o m e n t i n t i m e i t ' s r e a l l y e a s y to s e e t h a t ' s w h e r e s o n i c i n v e n t i o n h a s g o n e . I t ' s p a r t o f b e i n g c a p t u r e d by t i n y moments of time, being obsessed with tiny moments of time. Part of what happens with sampladelia i s that you've got a lot of music based on s a m p l e r m e m ory, so t h a t a l o t o f t h e h o o k s , a l o t o f t h e m u s i c t h a t a b d u c t s y o u , w i l l h a v e t o b e 4 s e c o n d s o r 9 s e co n d s . S o t h e r e ' s t h i s h u g e p s y c h e d e l i a b a s e d u p o n d i s g u i s i n g t h e s e s e c on d s ; i t ' s l i ke M a r k S i n k e r s a y s , f i n d i n g t h e u n i v e r s e i n a gra i n o f s o u n d - a n d t h a t ' s w h a t t h e s a m p l er d o e s . T h e r e ' s t h i s h u g e p s y c h e d e l i a g r o w n u p i n w h i c h y o u ' r e a b l e to fa l l i n to a u n i v e r s e o f s o u n d a n d i t ' s g ra n u l a r , m i c r o p h o n e m e s o f s o u n d . lri A bbaon Fa ts Track b y T r i c ky, t h e r e ' s t h i s w o m a n w h o w h i s p e r s t o h e r k i d , ' C a n y o u f l y f a s t a s y o u c a n t o be w i t h j es u s ' - s h e r e a l l y w h i s p e r s i t . T h a t w h o l e s a m p l e m u s t l a s t , I d u n n o , 5 , 7 sec o n d s . 8 s e c o n d s , 1 1 s e c o n d s . b u t t h e r e ' s s o m et h i n g so i n c r e d i b l e a b o u t i t . I t a b d u c t s y o u s o m uch. b e c a u s e y o u c a n h e a r a n a t m o s p h e r e i n i t , y o u c a n h e a r a n a m b i e n c e , y o u c a n h e a r l e v e l s o f fo r e g r o u n d w i t h i n t h a t s a m p l e . Y o u c a n f e e l y o u r s e l f g e t t i n g a b d u c t e d by i t . S o t h e r e ' s a w a y i n w h i c h t h e v i s u a l r e a l l y s e e m s to s u gg e s t t h a t . T h e n t h e re ' s t h i s w h o l e t h i n g I w a s re a d i n g by M i c h e l C h i o n . C h i o n i s a r e a l l y i n t e r e s t i n g g u y , t h i s s t u d e n t o f P i e r re S c h a e ffer w h o s t a r t e d b y c o m p o s i n g m usique concrete, who t h e n b e c a m e a t h e o r i s t . S o h e ' s the b e s t p e r s o n o n fi l m a n d s o u n d ever. Part o f m y r e l a t i o n to sound i s that C h i o n t a l k s about s o u n d i n fi l m , a n d I ' m o n l y j u s t r e a l i s i n g n o w t h a t a l o t o f m y fa v o u r i t e s a m p l e s a r e f r o m s o u n d i n fi l m . "So s a m p l a d e l i a opens a con t i n u u m between v i s u a l sound a n d a u d i o s o u n d . V i s u a l s o u n d i s a l wa y s fe e d i n g i n from o n e to t h e o t h e r . W h i c h i s w h y I l o v e a l o t o f fi l m s a m p l e s . P r o b a b l y w h y I l ov e t h e v i s u a l s o m u c h i s t h a t i t ' s a l w a y s b e i n g g r a b b e d a n yw a y b y t h e m u s i c . B y e x t i n g u i s h i n g the v i s u a l output, the music is switching i t on el sewhere. I t ' s as i f the e y e s s t a r t to h a v e e a r s . a s C h i o n w o u l d s a y . Y o u r e a r s h a v e h a d t h e i r o p t i c a l c a p a c i ty s w i t c h e d o n . I n a s t r a n g e w a y , y o u r e a r s ta rt s t o s e e .

A( 1 8 1 ] C h i o n i s s a y i n g t h a t each o f t h e s e n s e s h a v e t h e full c a p a c i t y o f a l l t h e o t h e r s . I t ' s s i m p l y t h a t h e a r i n g h a p p e n s to go t h r o u g h t h e e a r , b u t a l l t h e o t h e r s e n s e s c a n go t h r o u g h t h e e a r a s w e l l . T h e e a r i s m e a n t t o h e a r , but i t can d o all the other t h i ngs as wel l , if i t was switched on to the r i g h t c a p a c i ty . " A s i m i l a r t h i n g t h a t h a p p e n s a l o t i s a b i g t ra n s fe r e n c e to t a c t i l i ty , w h i c h I t a l k a l o t a b o u t a s we l l . W h en e v e r s o u n d g e t s s u b d e rm a l , whenever i n D r u m ' n ' B a s s the sound gets very scratchy, w i t h l o t s o f s h a ke r s a n d r a t t l e r s , t h e r e ' s o ft e n a l o t o f s o u n d s w h e r e t h e p e r c u s s i o n i s t o o d i s tr i b u t e d , t o o m o t i l e , t o o m o b i l e fo r t h e e a r t o g r a s p a s a s o l i d s o u n d . A n d o n ce t h e e a r s t o p s gra s p i n g t h i s a s s o l i d s o u n d , t h e s o u n d v e r y q u i c k l y t r a v e l s t o t h e skin i n s te a d - a n d t h e s k i n s ta rt s to h e a r for you. And w h e n e v e r t h e s k i n s t a rts t o h e a r , t h a t ' s where y o u fee l a l l creepy crawly, a n d that's when conduction creeps i n , when peop l e say, ' I fe l t r ea l l y c o l d ' , o r t h a t t h e m u s i c i s re a l l y c o l d : w h i c h i s b e c a u s e t h e i r s k i n h a s d ro p p e d m ay b e a c e n t i g r a d e a s t h e m u s i c h a s h i t i t , a s t h e b e a t h a s p r e s s e d a c r o s s i t . So I fo l l o w a l l t h o s e k i n d o f t h i n g s . I t h i n k w i t h J ight and sound, t h e r e ' s a s t r a t u m across which b o t h elements cross a l l t h e t i m e . They've both become vers ions o f a s a m p l a de l i a . And t h at s a m p l a d e l i a , b y d e fi n i t i o n , l e t s y o u a n a l og i z e a l o t o f t h i n g s . A n d n o t o n l y d o e s i t a n a l og i z e , i t l e t s y o u m u ta t e a n d reco m b i n a t e . " S a m p l a d e l i a i s a manda te t o r e co m b i n a te . T h a t ' s w h a t i t i s , t h a t ' s h o w i t works . Y o u s t a r t t o r e a l i s e t h a t w h e n m o s t p e o p l e t r y t o p r a i s e s o m e t h i n g , t h e y p r a i s e i t i n t e r m s o f s o m e t h i n g t h a t ' s g o n e 3 0 , 40 y e a r s a g o . Y o u s t a r t t o s e e t h e d r a g s p e o p l e p l a c e o n t h e e m e rg e n c e o f t h e n e w . t h e w a y p e o p l e c o n s ta n t l y p u t t h e b r a k e s o n a n y k i n d o f b r e a k s . S o i f I ' m rea c h i n g f o r p a ra l l e l s , I ' l l a l wa y s t r y a n d r e a c h f o r p a ra l l e l s t h a t a r e a c t u a l l y a h e a d o f w h a t I ' m s u gges t i n g . H e n c e , d o n ' t t h i n k o f Breakbeat i n terms of some kind of ancient techn i q u e which has been r e s u s c i t a t e d . F o r i n s ta n c e , y o u s e e a l o t o f p e o p l e s a y i n g t h e B r e a k b e a t i s t h e A fr i c a n d r u m , t h e r e t u r n o f t h e A fr i c a n d r u m m i n g s o u n d , b u t re a l l y i t ' s t h e o t h e r w a y a r o u n d . T h e B r e a k b e a t s h o u l d b e m o v e d forwa r d . Th i n k o f i t i n t e r m s o f a m o t i o n - c a p t u re d e v i c e b e i n g m a d e o n v i n y l , b e fo r e t h e r e w a s a n y d i g i t a l e q u i p m e n t t o be m a d e . I f h e c o u l d h a v e b e e n , G ra n d m a s t e r F l a s h w o u l d h a v e b e e n a c o m p u t e r d e s i g n e r ; i f h e ' d b e e n a n a n i m a to r , h e ' d be d o i n g m o t i o n c a p t u r i n g . H e ' s j u s t d o i n g i t on vinyl first.

A(182] " S o t h e s e a r e t h e k i n d s o f t h i n g s I t e n d t o l o ok fo r . I t ' s a l l a b o u t t r y i n g t o e s t a b l i s h k i n a e s t h e s i a s , b e c a u s e t h a t ' s r ea l l y w h a t ' s h a p p e n e d . I t h i n k w i t h a l m o s t a l l t h e d i ffe r e n t v a r i e t i e s o f r h y t h m i c p s y c h e d e l i a , t h e r e ' s a w a r z o n e o f k i n a e s t h e s i a b e e n e s ta b l i s h e d . T h e r e ' s a s e n s e i n w h i c h t h e n e rv o u s s y s t e m i s b e i n g r e s h a p e d b y b e a t s fo r a n e w k i n d o f s t a t e , f o r a n e w k i n d o f s e n s o ry c o n d i t i o n . D i ffe r e n t p a r t s o f y o u r b o d y a r e a c t u a l l y a t d i ffe r e n t s t a t e s o f e v o l u t i o n . Y o u r h e a d m a y we l l b e l a g g i n g q u i t e fa r b e h i n d t h e r e s t o f y o u r b o d y . I n D r u m ' n ' B a s s , t h e r e ' s o bv i o u s l y q u i t e a l o t o f a t t e n t i o n , t h r o u g h d u b , to t h e s t e p p e r . T h e r e ' s t h e i d ea t h a t t h e fe e t m a y we l l be m o r e evo l ve d , a n d h a n d s o b v i o u s l y , f e e t a n d h a n d s . Te r m i n a to r X s p o k e w i t h h i s h a n d s . O t h e r d j s ye l l ed w i t h t h e i r h a n d s . I ' ve g o t t h i s b r i l l i a n t s k r a t c h a d e l i a a l b u m ca l l e d Re turn of the Dj, p u t o u t b y The Bomb m a g a z i n e i n F r i s c o , a n d i t ' s a l l d o n e b y dj s , i t ' s a b r i l l i a n t a l b u m . O n e guy ' s d o n e a t r a c k c a l l e d Terrorwrist, so h i s w r i s t i s a t e r r o r , h i s w r i s t s e n d s o u t t e r r i fy i n g b o m b s . T h e i d e a o f a t e r ro r i s t i c w r i s t a c t i o n i s fa n t a s t i c . Th a t ' s a p r e d a t o r y w r i s t . S o y o u c a n s e e i n t h a t t h e d j h a s r ea l l y e v o l v e d t h e h a n d t h a t s e n d s t e r r o r b y a fl i c k by t h e w a y i t t o u c h e s v i n y l . S o I o f t e n t h i n k t h a t t h e a c t u a l b o d y i s a t d i ffe r e n t s t a g e s o f e vo l u t i o n . T h e r e ' s a con s t a n t w a r o n . " A l o t o f m a i n s t r e a m m e d i a ' s m a i n j o b a s w h a t I ca l l a f u t u r e s h o c k a b s o r b e r i s to m a i n t a i n a h o m e o s t a s i s , m a i n t a i n t r a d i t i o n a l a n d i n h e r i te d r u l e s o f m e l o d y o v e r h a r m o n y , b e a t s o v e r r h y t h m , b e a t s o v e r m e l o d y, to m a i n t a i n m a t t e r s i n t e r m s o f p r o p e r m u s i c , o r t r u e m u s i c , o r r e s p e c t a b l e m u s i c - a n d t h a t ' s a l wa y s a w a y i n w h i c h p eo p l e t r y a n d h i e r a r c h i z e t h e b o d y . Pa r t o f m y b i g t h i n g i s to ta l k a b o u t d a n c e m u s i c s i m u l t a n e o u s l y a s a k i n a es t h e t i c a n d a h e a d m u s i c , b e c a u s e i t t e n d s t o b e b o t h . As s o o n a s y o u l i s t e n to d a n c e m u s i c a t h o m e , i t s r e pe t i t i v e n e s s b e c o m e s h e a d m u s i c - l i ke . I ' ve n e v e r u n d e r s to o d w h y t h e y ca n ' t b e , w h y t h e y aren 't t h e s a m e t h i n g . " Pa r t o f t h i s t h i n g i s t h a t H i p H o p i s h e a d m u s i c , n o t s t a g e m u s i c , H i p H o p n e v e r w o r k s best o n s t a g e . And that's beca use i t ' s u s i n g a l l t h e s e S o n i c F i c t i o n s ; s o t h e re ' s a w h o l e k i n a e s t h e t i c d i re c t i o n , a n d s i m u l ta n e o u s l y a h e a d c o n t i n u u m . H i p H o p e v e n h a s a t e r m , ' h e a d s ' , w h i c h i s m o re o r l e s s s a y i n g t h a t H i p H o p h a s i t s o w n h i p p i e s a n d p r o g re s s i v e m u s i c . S o I ta l k a b o u t C y p r e s s H i l l , H i p H o p a n d i t s w h o l e d r u g - te c h i n te r fa c e . S i m u l t a n e o u s l y, I s a y t h a t J o h n C o l t r a n e i s t h e f i r s t h i p p i e . I l o o k a t J o h n

A[ 1 8 3] C o l t r a n e ' s l a s t rec o r d s , r e c o r d s l i ke Cosmic Music, In ters tellar Space, Om. C o l t r a n e fa m o u s l y t r i p p e d in ' 6 5 , then d i d th i s record Om. M a n u e l De L a n d a has this l ine, a b o u t w h e n y o u trip y o u become a l i q u i d c o m p u ter, b e c a u s e y o u r b ra i n l i q u e f i e s , a n d I t h i n k t h a t ' s w h a t h a p p e n e d to C o l t r a n e i n a b o u t ' 6 5 . H e s t a r t s u s i n g ' O m ' , t h e I n d i a n c h a n t , a n d h e ' s t ry i n g t o a s s e m b l e a u n i v e r s a l m u s i c , a n d t h e w h o l e t h i n g a b o u t t h e O m i s t h a t i t t u r n s t h e h u m a n i n to t h i s h u g e , g i a n t , v i b ra t i n g p o w e r s t a t i o n rea l l y. O m i s t h i s o p e r a t i o n to t u r n y o u rs e l f i n to t h i s e n e rgy f i e l d . S o y o u h a v e t h i s l a te 6 o s j a z z w h e r e a l l t h e s e g u y s were t u r n i n g t h e m s e l v e s i n t o p o w e r g e n e r a t o r s - a n d t h i s i n c r ed i b l e m u s i c t h a t w a s t ry i n g t o b o o t s t r a p a u n i v e r s a l s o u n d . A n d i t worked . I l o o k a t t h a t w h o l e s t ra i n o f m u s i c , from C o l t r a n e t h r o u g h t o S u n R a , t h r o u g h t o A l i c e C o l t r a n e . A w h o l e k i n d o f h o l i n e s s t h r o u g h v o l u m e , a h o l y a m p l i fi c a t i o n . " T h e rea s o n I d o n ' t t a l k a b o u t t h e l i t e r a r y i s t h a t t h e r e ' s j u s t n o n e e d t o , w h a t w i t h t h i n k i n g a b o u t a m p l i fi c a t i o n a n d t h e s e n s o r y e n v i r o n m e n t o f a m p l i fi c a t i o n , o f l o u d n e s s i n i t s e l f, t h e s e n s o ry i m p a c t o f v o l u m e , t h e s e n s o ry i m p a c t o f rep e t i t i o n , o f b r o a d c a s t i n g , a l l t h e s e t h i n g s . T h e re ' s s o m u c h t o ta l k a b o u t , j u s t a t t h e l e v e l o f v o l u m e , o f p r e s s u r e . T h e re ' s a ' wa y i n w h i c h y o u c a n d i re c t l y c o n n ec t t h o s e w i t h e v e ry t h i n g e l s e . Y o u c a n ta l k a b o u t t h e a u d i o - s o c i a l a n d i m m e d i a t e l y y o u ' v e c o n n e c t e d t h e s o u n d t o every t h i n g e l s e ; t h e l i te r a ry j u s t n e v e r rea l l y s e e m s to a p p e a r , e x c e p t a s d i ffe r e n t k i n d s o f S o n i c F i c t i o n . I n w h i c h c a s e , p r ec i s e l y b e c a u s e t h e y ' re o n r e c o r d n o t i n a b o o k , t h e y d o n ' t c o m e o u t a s l i t e r a r y , t h e y c o m e o u t a s m o r e l i ke the d i ffe r e n c e b e t w e e n rea d i n g a p a p e r a n d h e a r i n g i t r e a d o u t o n t h e n e w s . Y o u get t h e i d e a o f h e a r i n g a v o i c e c o m i n g a t you t h r o u g h va r i o u s c h a n n e l s : j u s t a s y o u n e v e r h e a r t h e n e w s d i re c t l y , y o u a l wa y s h e a r a n a u d i o fe e d , y o u a l wa y s h e a r a v o i c e tr a n s m i t t e d t h r o u g h a w h o l e s e r i e s o f o t h e r t h i n g s b e fo r e i t e v e r g e t s to you. Th a t ' s what h a p p e n s to fi c t i o n once it g e t s o n v i n y l ; y o u hear it t h r o u g h t h e s t u d i o . S o i t ' s not l i te r a r y - t h e l i te r a r y d o es n ' t w o r k in t h a t s p a c e a t a l l . S i m u l ta n e o u s l y , t h e r e ' s n o n e e d f o r r e p res e n t a t i o n , f o r t h e s i g n i fi e r , o r f o r t h e t e x t , o r f o r t h e l a w . T h e r e ' s n o n e e d f o r a n y o f t h a t . " B u t o f c o u r s e t h e w a y to i n t r o d u c e t h e o r y i s to rea l i s e t h e m u s i c i s t h e o r i s i n g i ts e l f q u i te wel l . F o r e x a m p l e , t h e re ' s a c o n c e p t I l i ke c a l l e d p e r c u s s a p e l l a , w h i c h i s p e rc u s s i o n a n d a c c a p e l l a a n d p e r c u s s a p e l l a i s j u s t t h e b e a t s o n t h e i r o w n . S o m e dj t h o u g h t u p a t e r m w h i c h d e s c r i b e s t h i s s a m p l a d e l i c a l l oy o f p e r c u s s i o n g o i n g s o l o , o f p e r c u s s i o n a s a n

A [ 1 84 ] accape l l a . A n d i t ' s j u s t bri l l iant. So I c a n u s e that, a n d a s soon a s m u s i c ' s instrumenta l , these things suddenly loom into shape a n d you s t a r t t o u s e t h e m . A n d t h e re ' s s o m a n y c o n c e p t s a l re a d y e x t a n t i n t h e music that a l l you need d o i s extract them a n d use them to b u i l d the m a c h i n e y o u w a n t to b u i l d , to u s e t h e m a s p a r t s i n t h e g i a n t c o n n e c t i o n m a c h i n e that you want to b u i l d . You just hook a concept o n and solder it onto the next concept that you want. So part o f the whole drive is very m u c h w r i tten a s a b o o k o f e m e r g e n c e . I t ' s n o t a h i s to r y a t a l l , i t ' s v e r y e nj o ya b l e t o res i s t t h e u rge t o h i s to r y , bec a u s e , e s p e c i a l l y i n B l a c k M u s i c , t h e r e ' s a w h o l e d r i v e t o w a r d s h i s t o r y a n d t ra d i t i o n a n d co n t i n u i ty , a n d t h i s b o o k i s e x p l i c i t l y a b o u t t h e b r e a k s , a b o u t t h e d i s c o n t i n u u m . M a rs h a l l M c l u h a n t a l ks a b o u t t h e t w e n t i e t h - c e n t u ry d i s c o n t i n u u m . We l l , t h i s b o o k i s a l l a b o u t t h e b r e a k s a n d t h e c u t s . I n heritance has been extremely overstressed i n ideas o f Black Music. By bringing up first the machine then second the actual vinyl, a l l the d i f fe r e n t q u a l i t i e s m o v e b e t w e e n t h e m a c h i ne s , a n d b e c o m e a s m u c h e ffe c t s o f t h e m a c h i n e s . S o t h i s i s t h e i d e a t h a t t h e s o n i c c a n p r o d u c e i d e n t i t i e s i n i ts e l f. For ex a m p l e : G e o r g e C l i n t o n i s b l a c k b u t t h e S t a r C h i l d i s a n a l i e n a n i m a t r o n i c fi g u r e - i t ' s h a rd t o s a y w h a t c o l o u r t h e S t a r C h i l d i s , the Star C h i l d i s pure a n i m a tron i c . And part o f the book a l wa y s l o oks t h a t w a y , a l w a y s l oo k s to s e e w h i c h h a l l u c i n a t i o n t h e s o n i c engenders and then chases that. I never try and c o l lapse the sonic back i n to t h e s oc i a l , a n d p r ec i s e l y b e ca u s e t h i s i s s u c h a n a l m o s t u n a n i m o u s t e n d e n c y , I ' ve g o n e q u i t e fa r t h e o t h e r w a y , I ' ve e x a g g e r a t e d i t e n t i re l y , W h e n y o u r e a d s o m e o n e l i ke S u n R a , S u n R a w o u l d t a l k a l o t a b o u t c o s m i c m u s i c . A n d I t h i n k i n c o s m i c m u s i c , h e m e a n t i t i n t h e s e n s e o f, W h a t wo u l d cos m i c m u s i c b e ? I t wo u l d be the m u s i c o f t h e e l e c t ro m a g n e t i c fi e l d , t h e m u s i c o f r a d i o t ra n s m i s s i o n s , say, c ro s s i n g t h e e l ec t r o m a g n e t i c fi e l d . I t w o u l d b e t h e m u s i c o f e l e c t r i c a l d i s t u rb a n c e s , t h e a t m o s p h e r i c cos m i c d i s t u r b a n c e s t h a t e x i s t i n t h e s ky. A n d i f y o u l i s te n t o S u n R a ' s A s tro Black, t h o s e a re exa c t l y t h e s o u n d s h e ' s m a k i n g w i t h h i s M o o g , h e ' s t u r n i n g t h e M o o g s y n t h e s i ze r i n to s o m e t h i n g l i ke a c i r c u i t w h i c h c a n a c t a s a g i a n t a l t e r n a t i n g cu r r e n t between t h e peo p l e l i s te n i n g , t h e A r k e s t r a a n d t h e c o s m o s i t s e l f. T h e M o o g i s t h e a m p l i fi e r t h a t d i re c t s c u r r e n t i n a n d o u t . O n o n e h a n d , t h e r e ' s a v e r y m a te r i a l w a y i n w h i c h h e d o e s t h i s beca u s e t h e a c t u a l M o ogy s o u n d s a re rea l ly s i m i l a r to - i f n o t i d e n t i c a l to - t h e s o u n d s o f t h e c o s m o s . S o i t ' s rea l l y fa s c i n a t i n g , b e c a u s e S u n R a often s a i d , l i ke ' I a m a n i ns t r u m e n t ' a n d ' t h e A r k e s t r a i s a n i n s t r u m e n t ' . O n o n e h a n d , h e s a i d t h e A r k e s t r a were t o n e

A[185) s c i e n t i s t s , s o n i c s c i e n t i s t s ; o n t h e o t h er, t h e A r k e s t r a were h i s ins trum en ts. S o y o u g e t t h i s i d e a o f m u s i c a s t h i s s o n i c p r o d u c t i o n c i r c u i t t h r o u g h w h i c h - a s G i l l e s D e l e u ze w a s s a y i n g - m o l ec u l e s o f a n e w p e o p l e m a y be p l a n t e d h e r e o r t h e r e . T h a t ' s v e r y m u c h w h a t S u n R a ' s d o i n g : h e ' s u s i n g t h e M oog t o p r o d u c e a n e w s o n i c p e o p l e . O u t o f t h i s c i r c u i t , he's u s i n g i t to produce the new astro-black A m e r i c a n o f the 70s. " S o t h a t ' s a b s o l u t e l y w h a t I d o a l l a l o n g . I e x t e n d t h e s o n i c o u t w a rd s , t h e r e b y g e tt i n g a t t h i s fee l i n g o f i m po s s i b i l i ty w h i c h t h i s m u s i c o ft e n g i v e s y o u . A t i ts b e s t , a n y m u s i c s h o u l d s t r i ke y o u w i t h i t s i m p o s s i b i l i ty, and its c o m p l e t e eva s i o n o f the r u l e s of t ra d i t i o n a l f i d e l i ty t o a l i ve s o u n d . And t h e w a y to get a t t h e s t r a n g e n e s s o f m u s i c - r a t h e r than to h a b i t u a l i z e that m u s i c via any o t h e r kind o f f i e l d - is t o e x a g g e r a t e the s o n i c , t o use t h e s o n i c a s a p ro b e i n t o new e n v i r o n m e n t s . B e c a u s e every n ew s o n i c s e n s a t i o n that I can m a gn i fy is s i m u l ta n eo u s l y a n e w sensory lifeform . So t h e r e ' s t h i s c o n s t a n t p l a y b e t w e e n t h e s o n i c a n d the s e n s o ry, w h i c h b e c o m e t h e s a m e t h i n g o ft e n . I t ' s p a r t l y a s h i ft between s c a l e s . Often you can o p e n t h e s c a l e and the sound rea l l y w i d e and t h e n you d i s a p p e a r i n to a s o u n d . O f t e n y o u c a n s h u t t h e s ca l e b a c k u p a n d w i t h d r'a w t o l oo k a t t h e v i n y l , o r w i t h d r a w t o l o o k a t t h e s l eeves . T h e r e ' s a c o n s t a n t t e l e s c o p i n g o f p e r c e p t i o n f r o m v e r y c l o s e a t t e n t i o n to a r e c o r d to p u l l i n g b a c k to l o o k i n g a t t h e v i n y l . I t h i n k t h i s i s n e w a n d fre s h . Beca u s e v i n y l i s o ft e n i g n o r e d . T h e t h i n g s m o s t i m m e d i a t e l y p l e a s u r a b l e a b o u t b u y i n g a r e c o r d a r e t h e t h i n g s w h i c h a re a l wa y s i g n o r e d . I t ' s b i z a r r e . So by b r i n g i n g t h a t t o t h e fro n t t h e b o o k s h o u l d b e w r i t t e n w i t h a s e n s e o f fa m i l i a r i ty. Peo p l e w i l l t a k e i t t o t h e i r h e a r t s . T h e b o o k ' s b e e n d e s i g n e d t o h a v e a v e r y ta c t i l e fee l , i n t h e s a m e w a y t h a t y o u r f i n g e r s h u n ge r for a s l ee v e . W h e n y o u s e e a s l eeve t h a t y o u l i k e , y o u r f i n g e r s r e a c h t o w a r d s i t , t h e y c a n ' t h e l p t h e m s e l v e s , t h e y rea l l y w a n t t h a t . I t ' s q u i te o bv i o u s t h a t t h i s i s w h a t I ' m t ry i n g t o d o - every o bj e c t i s a m a c h i n e o f s u bj e c t i v i ty . T h e record p l a y e r is, t h e r e c o r d is, the b o o k is. I s i m p l y want m y b o o k t o beco m e a m a c h i n e for p r o d u c i n g s u bj e c t i v i ty. I t s h o u l d be a m a c h i n e for p u t t i n g m u s i c toge t h e r . " I n the last ten, 20 years , there's been no gap between science, art and m u s i c , t h e y a l l fo r m t h e s a m e t h i n g . I t ' s s i m p l y t h a t a t a n y o n e t i m e t h i n g s t e n d to b e b l o c k e d , a n d w h e n y o u h a v e m o m e n t s o f r h y t h m i c p s y c h e d e l i a , i t ' s e a s y to s e e w h a t c a n be d i s l o d ge d a n d b r o u g h t o u t a n d m a d e i n to c o n n e c t i o n m a c h i n e s w i t h o t h e r t h i n g s . A n d o t h e r t i m e s ,

A[186] t h i n g s s e i z e u p . B r e a k b e a t h a s o p e n e d v a r i o u s r e t ro a c t i v e c h a p t e r s . S i m i l a r l y t h e b r e a k d o w n o f t h e l on g h e l d n o t i o n t h a t Tec h n o ' s o r i g i n p o i n t i s K r a ft w e r k m e a n s t h a t p e o p l e c a n z i p b e t w e e n t h e 7 0 s a n d t h e 9 0 s i n a m u c h f r e e r w a y , m o v e b e t w e e n K ra u t ro c k , s a y , a n d H e r b i e H a ncock. There ' s a certa i n openness i n m u s i c . " T h e k e y t h i n g to d o n o w i s to m o v e i n to a n e w fi e l d . I ' ve s t o p p e d c a l l i n g m y s e l f a w r i t e r : for t h e b o o k I ' m j u s t g o i n g to c a l l m y s e l f a c o n c e p t e n g i n e e r . T h a t m a ke s t h e w h o l e t h i n g m u c h fre s h e r , m u c h m o r e e x c i t i n g a n d m u c h l e s s k n o w n a b o u t . B e c a u s e t h a t ' s w h a t I ' m rea l l y d o i n g . I ' m e n g i n ee r i n g , gra s p i n g fi c t i o n s , gra s p i n g c o n c e p t s , gra s p i n g h a l l u c i n a t i o n s from m y o w n a r e a a n d t ra n s l a t i n g t h e m i n to a n o t h e r o n e , m i x i n g t h e m , a n d s e e i n g w h e r e we g o w i t h t h e m . I u s e t h e s e d i ffe r e n t c o n c e p t s t o p r o b e n e w a r e a s o f e x p e r i e n c e , t o a n t i c i p a te a n d fa s t fo r w a r d d i ffe r e n t e x p l o r a t i o n s i n t o n e w f i e l d s o f p e r c e p t i o n s w h i c h a re a l wa y s t h e r e , b u t w h o s e s t r e n g t h l i e s i n t h a t t h e y d o n ' t e x i s t i n t ra d i t i o n a l m a i n s t r e a m t e rm s . Tra d i t i o n a l m a i n s t r e a m t e r m s a r e s t i l l c o m p l e t e l y b o u n d u p w i t h t h e l i t e r a ry, a n d t h e 2 c u l t u r e s - a n d t h a n k G o d f o r t h a t , beca u s e t h a t m e a n s t h a t t h e y c a n ' t g e t i n o n w h a t ' s go i n g o n . W h i c h i s j u s t t h i s s u d d e n g l a n c e a t t h e e n d o f t h e c e n t u ry . I ' v e r e n a m e d a l l t h e i n s t r u m e n t s : I ' ve r e n a m e d t h e s y n t h e s i ze r t h e S o n o t ro n . l a n n i s X e n a k i s c a l l e d t h e s y n t h e s i z e r t h e S o n o t r o n i n h i s b o o k . T h a t ' s p e r fe c t beca u s e S o n o t r o n j u s t s o u n d s l i ke a s u p e r h e r o c o m i c , s o a c o n v e r g e n c e o f s o u n d i n t o b a l l i s t i c s . And the drum m a c h i n e should be renamed what i t actua l l y i s : a r h y t h m s y n t h e s i ze r . I ca l l t h i s p r o b l e m [ r ] e a r v i e w h e a r i n g . T h e d r u m m a c h i n e isn 't a d r u m m a c h i n e . I t ' s p u l s e s a n d s i g n a l s s y n t h e s i z e d i n t o new p u l s e s a n d new s i gn a l s . There are n o drums i n i t . Tha t was a weird t h i n g t h a t c o n fu s e d m e fo r y e a r s a n d y e a r s , u n t i l I w o r k e d i t o u t . Y o u ' d l i s t e n a n d t h e y ' d s o u n d u t terly d i ffe r e n t f r o m d r u m s . T h e m o v e m e n t f r o m fu n k to d r u m m a c h i n e s i s a n e x t re m e l y i n c re d i b l e o n e : p eo p l e ' s w h o l e r h y t h m i c p e rc e p t i o n c h a n ge d o v e r n i g h t . A n d p e o p l e o f c o u r s e p r e t e n d e d t h a t n o t h i n g h a d h a p p e n e d , b u t i t w a s a m a j o r s h i ft , h e a r i n g b l ee p s a n d s i gn a l s a n d d i ffe r e n t k i n d s o f a l t e rn a t i n g c u r r e n t a s s o u n d . I t w a s a h u ge s h i ft . I n a s i m i l a r s e n s e E d g a r d V a r e s e c a l l ed t h e d r u m m a c h i n e a r h y t h m s y n t h e s i ze r . a n d t h a t ' s a good w a y to d e s c r i be i t . S o a l l t h o s e k i n d o f t h i n g s , a l l t h o s e c o n c e p t s , m a ke a s e n s e t h a t t h e m a i n s tr e a m i s j u s t c o m p l e t e l y i n c a p a b l e o f rea l l y gr a s p i n g a t a l l . "There rea l l y i s a s e n s o r y i n v o l u t i o n a w a y from t r a d i t i o n s , a n d from

A[187] wha tever the d i v i s i o n s o f a r t a s s u p p o s e d t o b e . I t ' s very m u c h l i ke S a d i e P l a n t s a y s , i t ' s n o t h i g h o r l o w , i t ' s j u s t c o m p l e x , b e c a u s e i t h a s so m a n y trave l l i n g a n d s p i ra l l i n g a r m s t h a t y o u c a n h o o k o n t o . Th i s i s w h y w h e n the A m e r i c a n s l a m e n t a b o u t t h e v i r tu a l i z a t i o n o f t h e b o d y , i t j u s t s e e m s b i z a r r e , b e c a u s e i t fee l s l i ke w e ' r e d o i n g t h e o p p o s i t e , i t fee l s l i ke w e ' r e j u s t begi n n i n g o n t h i s j o u r n e y i n to t h e c e n tre o f o u r s e n s e s . I t s e e m s the o p p o s i t e : science a l wa y s means a hypersensorin ess. Tra d i t i o n a l s c i e n c e sti l l means a depletion, cold scientists, extreme l ogic and all these corny c l i ches. But i n musical terms, science i s the oppos ite, science i s i n t e n s i fi c a t i o n , m o re s e n s a t i o n . S c i e n ce i s r h y t h m i n t e n s i fi e d , r h y t h m e s t r a n g e d . A n d t h a t ' s how a w h o l e g e n e r a t i o n u n d e r s t a n d s s c i e n c e . T h e n w h a t t h e y m e a n by a b s t r a c t i s s e n s a t i o n s so n e w t h e re i s n ' t y e t a l a n g u a g e fo r t h e m . So the s h o r t h a n d i s to j u s t c a l l i t a b s t r a c t . There ' s a w h o l e g e n e r a t i o n w h o ' r e grown u s e d to t h i n k i n g o f s e n s o r y e m o t i o n s w i t h o u t h a v i n g a l a n gu a g e f o r t h e m y e t . R h y th m i c p s y c h ed e l i a ' s t h e p s y c h ed e l i c a s p e c t o f a n y p a r t i c u l a r s c e n e . So i t c o u l d be a ny t h i n g : from H o u s e t o tra n c e , to B r e a k b e a t to j a z z , i t c o u l d b e a n y s c e n e - b u t I ' m i n t e r e s t e d i n t h e r h y t h m i c p s y c h ed e l i a a s p e c t o f e a c h s c e n e , n o t the s c e n e i ts e l f. I ' m i n terested i n t h e p o i n t s o f m a x i m u m r h y t h m i c h y p e rd e l i a , t h a t ' s w h a t I ' m rea l l y i n terested i n . S o i t cou l d b e a n y o f t h e s e . . . " Po s t m o d e r n i s m d o e s n ' t m e a n a n y t h i n g i n m u s i c a t a l l . I t d o es n ' t m e a n anyth ing. I t h a s n ' t m e a n t a n y th i n g s i n c e a t l e a s t ' 6 8 , w h e n t h e f i r s t Vers i o n s s t a r t e d co m i n g o u t o f j a m a i ca . A s s o o n a s y o u h a d t h e p a r t i c u l a r s o c i a l c o n d i t i o n o f n o c o p y r i g h t , t h i s 1 9 t h - ce n tu ry c o p y r i g h t w a s a l r e a d y g o n e , i n s ta n t l y y o u h a d t h e freed o m t o r e p l i ca t e , t o r e co m b i n a t e . T h a t e n c o u ra g e d a W i l d s t y l e o f r h y t h m s w h i c h w o u l d a t t a c h t h e m s e l v e s a n d rec o m b i n a t e . A n d a s s o o n a s y o u h a d t h a t , t h a t ' s p o s t m o d e r n i s m a c co m p l i s h e d a n d d o n e w i t h , r i g h t t h e n i n ' 6 8 . E v e r s i n c e t h e n by d e fi n i t i o n y o u ' v e h a d p o s t m o d e r n i s m a n d i t h a s n ' t b e e n a n y b i g d e a l a t a l l , i t ' s j u s t a l re a d y b e e n a c c o m p l i s h e d . F o r i n s t a n c e . Wa l t e r B e nj a m i n ' s t r a d i t i o n a l ' T h e W o r k o f A r t i n t h e A g e o f M ec h a n i c a l R e p r o d u c t i o n ' : t h i s a r g u m e n t d o es n ' t w o r k a n y m o r e - b e c a u s e o n e o f B e nj a m i n ' s m a i n p o i n t s [ o r t h e o n e h i s a d m i re r s u s e o v e r a n d o v e r a ga i n ] i s t h a t i n t h e Age o f M ec h a n i c a l R e p ro d u c t i o n t h e r e ' s n o a u ra l e ft , t h e s i n g l e , u n i q u e a u r a h a s g o n e . B u t o f c o u rs e a s s o o n a s y o u h a v e t h e d u b p l a t e t h e n t h a t ' s a l l g o n e o u t o f t h e w i n d o w . The d u b p l a t e i s w h e r e y o u ' v e g o t t h e r e p r o d u c t i v e p r o c e s s , t h e m e c h a n i c a l p r o c e s s o f p r es s i n g v i n y l o n t o t h e p l a te t h a t ' s b e i n g p l a y e d , a n d s u d d e n l y i n t h e m i d d l e o f

A[188] t h a t y o u ' v e g o t t h e o n e - o ff re m i x , y o u ' v e g o t t h e t r a c k t h a t t h e r e ' s o n l y o n e o f i n t h e w o r l d , b u t i t ' s n o t a n o ri g i n a l , i t ' s a c o p y , a t h i rd c o p y . S o y o u ' v e g o t t h i s t h i n g t h a t ' s n e v e r s u p p o s e d to e x i s t i n B e nj a m i n ' s w o r l d : y o u ' v e g o t t h e o n e - o ff c o p y , y o u ' v e g o t t h e o n e - o ff fi fth r e m i x , y o u ' v e g o t t h e o n e - o ff t e n t h r e m i x , y o u ' v e g o t t h e o n e - o ff t we n t i e t h r e m i x . There 's o n l y one o f i t . So the dubplate means t h a t the w h o l e idea o f the a u ra b e i n g o v e r d o e s n ' t m a ke a n y s e n s e , b e c a u s e t h e a u r a i s r e b o r n i n t h e m i d d l e o f t h e i n d u s t r i a l r e p r od u c t i o n . H e n c e t h e j u n g l e a c c e l e ra t i o n , t h e i n t e n s i fi c a t i o n o f t h e d u b p l a t e ; t h e d u b p l a t e i s r e b o r n a s t h i s M u s i c o f t h e F u t u r e . Yo u ' re h e a r i n g m u s i c t h a t w o n ' t be o n t h e s t r e e t s t i l l t e n m o n t h s , 1 1 m o n t h s l a te r , i m m e d i a t e l y t h i s g a p o p e n s u p b e t w e e n y o u a n d now i n 1 9 9 6 : you s u d d e n l y i m a g i n e yourse l f i n '97, going 'Where will I be w h e n I b u y t h i s ? ' - a n d o f c o u r s e y o u n e v e r w i l l , b u t l i s t e n i n g to a d u b p l a te d o e s t h i s l i t t l e p r oj e c t i o n o n y o u . Y o u fe e l y o u r s e l f 1 8 m o n t h s a h e a d , y o u l i te ra l l y fe e l a h e a d , y o u ' r e o n a p l a n e o f a c c e l e ra t i o n , y o u ' re m o v i n g fa s t e r t h a n y o u a r e . So for t h a t r e a s o n a l o n e p o s t m o d e r n i s m j u s t h a s n ' t e x i s te d a n d a s s o o n a s y o u h a v e a s t a t e o f r e m i x o l ogy - w e l l , w h a t h a p p e n e d i s t h a t r e m i x o l ogy g o t h e l d u p i n d i ffe r e n t a r e a s . I n j a zz , fo r i n s t a n c e , y o u h a d A l i c e C o l t r a n e r e m i x i n g j o h n C o l t r a n e , b u t j azz t r a d i t i o n hated t h i s and s a i d it w a s b l a s p h e m y . You had t h e Beach Boys r e m i x i n g t h e i r s t u ff and it b e i n g r e fu s e d . S o in t h e m aj o r c o r p o ra t i o n s r e m i x o l ogy w a s a l w a y s s t o p p e d , a n d i n j a m a i ca r e m i x o l ogy j u s t b e c a m e t h e i m m e d i a t e s t a t e o f p l ay, f i r s t o f a l l b e c a u s e i t ' s s i m u l t a n e o u s l y h y p e r p r e d a t o ry a s we l l , i t a l l o w s a k i n d o f a g g l o m e ra t i o n o f r h y t h m s , a ruthlessness o f rhythms, a break war, what jungle producer Andy C c a l l s a b r e a k w a r . Peo p l e b i d f o r b r e a k s , o r j u s t s t e a l t h e m . T h e re ' s t h i s w i l d fro n t i e r , t h i s w i l d b r e a k w a r g o i n g o n , r h y t h m s j u s t g o i n g m a d . S o w e ' r e fa r b e y o n d p o s t m o d e r n i s m h e r e , a n d i m m e d i a t e l y a l l t h e t ra d i t i o n a l a r g u m e n t s d r o p o u t o f t h e w i n d ow. T h e i d e a o f e x h a u s t i o n , for e xa m p l e t h a t ' s j u s t g o n e , b e c a u s e m u s i c d o es n ' t w o r k i n t h a t w a y . I t ' s a l re a d y a g e n e p o o l , s o i t ' s n o t g o i n g to e x h a u s t i t s e l f. "And then a whole series o f t h i ngs - the idea o f quotation and c i t a t i o n , t h e i d e a o f i r o n i c d i s ta n c e , t h a t d o es n ' t w o r k , t h a t ' s f a r t o o l i t e r a r y . T h a t a s s u m e s a d i s ta n c e w h i c h b y d e fi n i t i o n v o l u m e o v e rc o m e s . T h e r e i s n o d i s t a n c e w i t h v o l u m e , y o u ' r e sw a l l ow e d u p by s o u n d . T h e r e ' s n o roo m , y o u c a n ' t b e i r o n i c i f y o u ' r e b e i n g s wa l l ow e d by v o l u m e , a n d v o l u m e i s overw h e l m i n g y o u . I t ' s i m p o s s i b l e to s t a y i r o n i c , s o a l l t h e i m p l i ca t i o n s o f p o s t m o d e r n i s m g o o u t o f t h e w i n d o w . N o t o n l y i s i t t h e

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A[190] producers w h o a r e l iving n o w a n d connecting them u p t o ones i n the p a s t , y o u s w i tch o n t h e s o n i c , y o u s w i tc h o n a w h o l e s o n i c r e g i s t e r , a w h o l e u n o ffi c i a l reg i s t e r . N o b o d y q u o te s Lee Perry a s a n a u t h o r i ty, i t ' s a l w a y s t h e g r o te s q u e t h i n g o f H e i d egger a n d t h e n G e o rge C l i n t o n , i t ' s n e ver t h e o t h e r w a y a r ou n d . B u t i t w a s C l i n to n t h a t c a m e u p w i th m i x a d e l i c s : t h e t h e o r y of m i x o l ogy a s a p s y c h ed e l i a , t h e t h eo r y o f t h e m i x i n g d e s k a s a p s y c h e d e l i a . I n 1 97 9 , t h e r e i t i s , m i x a d e l i c s . T h a t ' s h i s concept: he thought of a psychedel i a o f t h e m i x i n g desk. So y o u don't need a n y H e i d egger, b e c a u s e C l i n t o n ' s a l r e a d y t h e o r e t i c a l . S o w h a t I ' ve done is e x t r a c t these c o n c e p t s and set them t o work: t h e y w o r k beca u s e t h e y ' r e t i e d to r e c o r d s . A n d t h a t ' s b e c a u s e t h e v e c t o r t h a t a l o t o f t h i s w o r k s o n i s t h e record p l a ye r . I t ' s t h e h a b i t u a l n e s s , y o u h a v e t o l o o k a t y o u rs e l f a s a m a c h i n e p r o g r a m m e d , a s a b i o c o m p u te r p r o g r a m m e d b y t h e d e c k s . T h e m o t i o n s y o u h a v e t o m a ke t o p u t a n e e d l e o n t o t h e record a s t h e fl i g h t o f t h e s t y l u s t a k e s a c r o s s t h e groove : t h i n k o f t h e h u n d re d s o f thousands of times that you've made that motion, the habitualness of p u t t i n g i t o n . H e r e ' s a w a y t o s e e t h i s very c l e a r l y , f o r i n s ta n c e : w h e n y o u ' re l i s t e n i n g to a r a r e g r o o v e o r i gi n a l , s a y t h e r e ' s a t r a c k y o u k n o w rea l l y w e l l , a n d y o u ' re l i s te n i n g f o r t h e f i r s t t i m e t o t h e o r i g i n a l o f i t . Y o u s u d d e n l y r e a l i s e t h a t t h e b i t y o u kno w i s o n l y a t i n y b i t , j u s t l i ke a 3 - s e c o n d b i t , a n d t h e n t h e record j u s t p l u n ge s , u s u a l l y , i n to a d i s a p po i n t i n g m e d i o c r i ty, b e fo r e t h e n e x t s o u n d t h a t y o u recogn i z e c o m e s u p . a n d t h e n i t p l u n g e s a ga i n , b e fo r e t h e n e x t b i t c o m e s u p . S o m e t i m e s w i th P a r l i a m e n t t r a c k s y o u c a n h e a r a b o u t 5 o f t h e s e i n t h e first 2 m i n u tes, a n d these bits, they recognize you, beca u s e what they're d o i n g i s recogn i z i n g y o u r h a b i t u a l n e s s i n p u t t i n g t h e m o n . W h e n y o u h e a r a s o u n d , y o u h a v e a m e m o ry fl a s h , b u t y o u a l m o s t h a v e a m u s c u l a r m e m o ry, y o u re m e m be r t h e t i m e s y o u d a n c ed t o i t . You d o n ' t j u s t r e m e m b e r t h e t i m e s y o u d a n ced t o i t , y o u r e m e m b e r t h e t i m e s y o u b e n t o v e r to p u t t h e n eed l e o n t h e r e c o r d to p l a y t h a t b i t . S o m e t i m e s y o u l ove t h a t b i t s o m u c h . y o u e v e n r e m e m b e r go i n g o v e r a n d o v e r a n d o v e r t h a t b i t a ga i n . So w h e n y o u h e a r th a t s o u n d t h a t y o u l o v e , w h e n y o u h e a r t h e r e c o g n i z a b l e s a m p l e i n t h e m i d d l e o f a l i en s o u n d . t h a t s o u n d i s recogn i z i n g y o u r h a b i t u a l n e s s , a n d i t ' s rea l l y i n cred i b l e , y o u s u d d e n l y g e t a g l i m p s e o f y o u r s e l f a s a h a b i t fo r m , a s a h a b i t fo r m e d b e i n g , a p r o c e s s o f h a b i t form a t i o n . You s u d d e n l y s e e y o u r s e l f o v e r t h e y e a r s , h o w y o u l oved t h i s r e c o r d . I t ' s i n c re d i b l e , t h e s o u n d t a k e s a p i c t u re o f your habits; i t snaps your habits. And you suddenly see i t very c l e a r l y . H o w m a n y t i m es h a ve I p u t t h a t o n ? T h a t ' s w h a t I w a n t t o g e t a t . T h e s e

A[ 1 9 1 ) a re n e w s e n s a t i o n s w h i c h h a v e n e v e r e x i s t ed b e fo r e , t h a t fe e l i n g o f b e i n g r e c o g n i z e d by s o u n d . Th a t ' s n e w , i t h a s n ' t h a p p e n e d b e fo r e . B y d e fi n i t i o n , i t could o n l y h a p p e n i n t h e s a m p l a d e l i c g e n e r a t i o n ; b y d e fi n i t i o n i t c o u l d o n l y h a p p e n to p e o p l e w h o l i s t e n to s a m p l a d e l i c m u s i c . A n d t h o s e k i n d o f t h i n gs j u s t h a v e n ' t b e e n w r i t t e n a b o u t , t h e y h a v e n ' t e v e n b e e n c a p t u re d y e t . " S o by e x t e n d i n g t h e s o n i c fu r t h e r a n d f u r t h e r , I ' m o n t h e h u n t , I ' m c h a s i n g fo r, I ' m t r y i n g t o f i n d o u t n e w p e r ce p t i o n s : p e r c e p t i o n s t h a t h a v e a l wa y s been t h e r e , b u t h a v e n ' t y e t b e e n g r a s p e d a n d h a v e n ' t yet b e e n . c o n n e c t e d to a n y t h i n g e l s e y e t . I t ' s t h i s e x p l o r a t i o n i n t o t h e u n k n o w n . " B y n o w , I ' ve s t o p p e d s a y i n g ' B l a c k c u l t u r e ' . T h e r e ' s a l w a y s b e e n a m u c h s t r o n g e r p e r c e p t i o n i n A m e r i c a o f b l a c k c u l t u re a n d t h a t ' s o b v i o u s l y p a r t l y b e c a u s e i t ' s b e e n c o u n te r - d e f i n e d a ga i n s t t h e t r a d i t i o n a l k n o w l e d ge a pa r t h e i d s t r u c t u r e w h i c h h a s b e e n i n p l a c e i n A m e r i c a . A n d y o u c a n t e l l a l m o s t a l l A m e r i c a n w r i t e r s a r e w o r k i n g a ga i n s t t h i s k n o w l e d g e a p a r t h e i d , w h i c h h a s b e e n rea l l y fi r m l y l a i d o u t . A ft e r a l l , everybody s h o u l d know t h a t m o s t b l ack A m e r i c a n s cou l d n ' t even get t o a r t school u n t i l about 1 9 6 9 . That's how severe American apartheid was, f r o m t h e k n o w l e d g e s t r u c t u re o n d o w n . S o m o s t b l a c k A m e r i c a n s w r i t e i n a w a y t h a t a s s u m e s a u n i fi e d b l a c k c u l t u r e , t h e n g o e s o n t o e x p l a i n t h e d i s s e n s i o n s b e t w e e n i t , o r n o t t o . B u t s i t t i n g h e re i n E n g l a n d , i n L o n d o n , i t ' s m u c h h a rd e r fo r m e t o e v e n a s s u m e a u n i fi e d a n y t h i n g , l e t a l o n e a u n i fi e d b l a c k c u l t u r e . I t e n d to s t a r t from t h e o p p o s i t e . I t e n d to t h i n k o f t h i n g s m o r e fre e fl o a t i n g , a n d t h e r e ' s v a r i o u s s t r a n ge a t t r a c t o r s t ry i n g t o a g g l o m e r a t e t h i n g s , t h e r e ' s v a r i o u s i n e r t i a - p ro d u c i n g fo r c e s w h i c h a r e t ry i n g to c e n t r e , a n d t ry i n g t o a t t r a c t m a te r i a l t o b l a c k c u l t u r e , p e t r i fy i t , s o l i d i fy i t , r e t e r r i t o r i a l i z e i t , a n d t h e n u s u a l l y t h i s g e t s c a l l ed t ra d i t i o n , or i t g e t s c a l l ed h i s to r y . " I look at black cu l ture much more as a series o f material that's been agglomerated on o n e hand, a n d on the other, it's m u c h more l i ke a series o f tech n iques. A lot o f the producers a n d engi neers I talk about see t h e m s e l v e s a s s c i e n t i s t s o r t e c h n i c i a n s . I t e n d to t h i n k o f b l a c k c u l t u r e t h e n a s a n i n s t r u m e n t o r a n e n v i r o n m e n t t h a t th e y ' ve in ven ted. I ' m v e r y much looking into the synthesizings, looking into new b l a c k synthetic v e rs i o n s . I c a n n e v e r t h i n k o f a u n i fi e d b l a c k c u l t u r e o u t o f w h i c h e v e ry t h i n g c o m e s . T o m e e v e r y t h i n g n o w l oo k s l i ke i t ' s s y n t h e s i z e d .

A[ 1 9 2] T h e r e ' s o bv i o u s l y s t u ff t h a t ' s b e e n a r o u n d l o n g e n o u g h so t h a t i t fee l s s o l i d i fi e d , c a l c i fi e d , b u t a c tu a l l y i t ' s a l l s y n t h e s i z e d . B e c a u s e I ' m l o o k i n g a t e m e r g e n c e s , a n d by d e fi n i t i o n t h e y ' r e g o i n g t o b e rea l l y s y n t h e t i c , l i ke Tec h n o . B e c a u s e I b r i n g t h e m a c h i n e i n to i t . I t m a ke s t h i n g s m u c h m o r e c o m p l ex b e c a u s e i n s t e a d o f t a l k i n g a b o u t b l a c k c u l tu r e , I ' l l t a l k for i n s t a n c e a lot a b o u t G h a n a i a n d r u m c h o i r s , o r t a l k a lot a b o u t the A fr i c a n p o l y r h y t h m i c e n g i n e , the p o l y r h y t h m i c p e rc u s s i o n e n g i n e . A n d t h o s e w i l l b e v e r y p a r t i c u l a r A fr i c a n t ra i t s . S o u n d i s a s e n s o r y te c h n o l ogy, s o I ta l k a l o t a b o u t b l a c k t e c h n o l og i e s . T h e y ' r e m a c h i n e s a n d i f w e ' r e t a l k i n g a b o u t 1 9 t h or 1 8 t h c e n t u ry A fr i c a , t h e n t h e y ' d b e machines built a long time ago and passed down. But i n the present, it's m o re l i ke b l a c k c u l t u r e i s t h i s s e r i e s o f m a c h i n e s b u i l t h e r e a n d t h e r e . The d u b p l a t e w a s o n e , b u i l t i n j a m a i c a . T h e B r e a k be a t w a s a n o t h e r , built i n New York. " I h a v e n ' t y e t p u l l e d b a c k to m a ke c o m m a n d i n g s t a t e m e n t s a b o u t w h a t i t i s i n b l a c k c u l t u r e t h a t p r o d u c e s t h e s e k i n d o f s y n t h e t i c tec h n o l og i e s . I h a v e n ' t yet b e e n a b l e to p u l l b a c k a s t r a t u m to t h e b i g w h a t - i f q u e s t i o n . And t h a t ' s p r o b a b l y beca use I d o n ' t t h i n k i t rea l l y exists, beca use I ' m so c o n s u m e d a n d a m a z e d b y t h e te e m i n g v a r i e ty a t t h e o t h e r e n d o f t h e t e l e s c o p e t h a t I c a n ' t p u l l b a c k to s e e t h e v i e w . P r o b a b l y b e c a u s e I d i s t r u s t t h e i d e a t h a t t h e re ' s v i e w s , b u t i t w o u l d be m o r e l i ke a s h i ft i n t e m p o o r s c a l e . S o s h i ft i n g t o a h o r i z o n v i e w t h e n s w i t c h i n g b a c k . B u t i t c o u l d b e t h a t , o n e l a rge t h i n g G re g u s e d t o s a y w h i c h worked re a l l y w e l l , w a s t h a t t h e M i d d l e P a s s a g e , o u t o f A fr i c a i n to A m e r i c a , fo rced c u l t u r e to b e c o m e i m m e d i a te l y m e n ta l . A l l o f t h e o t h e r t h i n g s w e r e by d e fi n i t i o n l e ft b e h i n d , l e ft r u i n e d : a r c h i t e c t u r e , e v e ry t h i n g e l s e . S o c u l t u re i m mediately became m e n ta l , i m mediately beca m e demateri a l ized. So oral c u l t u re i s a l l t h e t h i n g s y o u c a r r y i n y o u r h e a d , a n d t h a t ' s i t. A n d t h e n i t h a s to b e r e m a t e r i a l i z e d , f i r s t t h r o u g h h i t t i n g t h e h a n d s , o r t h r o u g h t h e m o u t h . I t h a d to b e p a s s e d o n a ga i n , a n d r e i n v e n t e d a l l o v e r a ga i n . So t h e r e ' s that w h o l e s t r a i n . A n d t h e r e ' s the key t h i n g w h i c h d r e w m e i n t o a l l t h i s : t h e i d e a o f a l i en a b d u c t i o n , t h e i d e a o f s l a v e ry a s a n a l i e n abduction which means that we've all been l iving i n a n a l ien-nation s i n c e t h e 1 8 th c e n t u ry . A n d I d e fi n i t e l y a g r e e w i t h t h a t , I d e fi n i te l y u s e t h a t a l o t . T h e m u t a t i o n o f A f r i c a n m a l e a n d fe m a l e s l a v e s i n t h e 1 8 t h c e n t u r y i n t o w h a t b e c a m e n e g r o , a n d i n t o t h e e n t i re s e r i e s o f h u m a n s t h a t w e r e d e s i gn e d i n A m e r i c a . T h a t w h o l e p r o c e s s , t h e k e y t h i n g b e h i n d i t a l l i s t h a t i n A m e r i c a n o n e o f t h e s e h u m a n s w e r e design a ted h u m a n .

A[193] I t ' s i n m u s i c t h a t y o u g e t t h i s s e n s e t h a t m o s t A fr i c a n - A m e r i c a n s owe n o thing t o t h e s t a t u s o f t h e h u m a n . A f r i c a n - A m e r i c a n s s t i l l had t o p r o t e s t , s t i l l h a d to rio t, t o b e j u d ged E n l i g h t e n m e n t h u m a n s i n t h e 1 9 6 o s - i t ' s q u i t e i n c re d i b l e . A n d i n m u s i c , i f y o u l i s te n to g u y s l i ke S u n R a - I c a l l t h e m t h e d e s p o t s , R a , R a m m e l l z e e a n d M a d M i ke - p a r t o f t h e w h o l e t h i n g a b o u t b e i n g a n A fr i c a n - A m e r i c a n a l i e n m u s i c i a n , i s t h a t t h e r e ' s t h i s s e n s e o f t h e h u m a n a s b e i n g a rea l l y p o i n t l e s s a n d t r e a c h e r o u s c a te g o r y , a c a t e g o r y w h i c h h a s n e ver mean t anything t o A fr i c a n - A m e r i c a n s . T h i s i s p a r t i c u l a r l y t r u e w i t h S u n R a - j u s t b e c a u s e R a p u s h e s i t by s a y i n g t h a t h e c o m e s f r o m S a t u r n . I a l wa y s a c c e p t t h e i m po s s i b i l i ty o f t h i s . I a l w a y s s t a r t w i t h t h a t , w h e r e m o s t p e o p l e w o u l d try a n d c l a i m i t w a s a n a l l e g o r y . B u t i t i s n ' t a n a l l eg o r y : h e r ea l l y d i d c o m e from S a t u r n . I t r y to e x a g g e r a t e t h a t i m p o s s i b i l i ty , u n t i l i t ' s i r r i t a t i n g, u n t i l i t ' s a n n oy i n g , a n d t h i s a n n o y a n c e i s m e re l y a t h r e s h o l d being crossed in the readers' heads, and once they unseize, unclench their sensorium, they' l l have passed through a new threshold and they' l l b e i n m y w o r l d . I ' l l h a v e g o t t h e m . T h e key t h i n g t o d o i s t o r e g i s t e r t h i s a n n o y a n c e , b e c a u s e a l o t o f t h e m o v e s I ' ve d e s c r i bed w i l l p r o v o ke r e a l a n n o y a n c e , t h e l a c k o f t h e l i t e r a ry, t h e l a c k o f t h e m o d e r n i s t , t h e l a c k o f t h e p o s t m o d e r n . A l l o f t h e s e t h i ngs s h o u l d p r o v o k e a r e a l i r r i t a t i o n , a n d s i m u l ta n e o u s l y a r e a l re l i e f, a r e l i e f t h a t s o m e b o d y h a s l e ft a l l s t u ff b e h i n d , a n d s t a r t e d f r o m t h e p l e a s u re p r i n c i p l e , s t a r t e d from t h e m a t e r i a l s , s t a r t e d f r o m w h a t rea l l y g i v e s p e o p l e p l e a s u re . " First publish ed in the A bs tra ct Culture Series a s M o t i o n C a p t u re . by t h e Cybern etic Culture Research Uni t. 1996. Warwick Uni versity.

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8[ 1 9 5 ] A S S E M B LI N G THE CON N E CTIO N M A CHI N E Note: Books s a m p l e d a re c i ted by a u t h o r a n d d a t e , a n d l i sted in Da taMin ing the lnfo verse. Records, s l eeves, posters and other a r t w o rks a r e c i t e d by a r t i s t and d a te and l i s ted at the e n d o f e a c h c h a p ter-sec t i o n . T r a c k t i t l e s, w h e re r e l e v a n t , are l i sted t h u s , " U i t ra m a g n e t i c M C s : Brainiac; Smoking D u s t from T h e Basem e n t Tapes, T u f f City Records, 1 9 9 6 " , and named in brackets a fter the ' c i t a t i o n when h e l p fu l : e.g. " ' co m b i n a t i n g e l em e n t s ' , U l t r a m a g n e t i c M C s , 1996 ( Bra iniac) " . F i l m s a r e c i ted b y t i t l e a n d l i s ted a l p h a be t i c a l l y a t the e n d o f each c h a p t e r s e c t i o n , as video releases ("NCA" • " n o t curren t l y a v a i l a b l e on video r e l e a s e " ) . M a g a z i n e c i t a t i o n s a r e g i v e n i n fu l l t h e f i r s t t i m e , t h e n s u b s eq u e n t l y b y a r t i s t , a u th o r a n d d a t e , t h u s : "Tr i c k y i n G a v i n M a r t i n , NME, z 8 O c t 1 9 95" s u b s e q u e n t l y b e c o m e s "Tricky, Martin, Oct 1 995". [ - 0 1 5 ] ' I ts m i s s i o n i s . . . · . On the Uses a n d Disadvan tages of His tory for L i fe from N i etzsche, 1983, p 1 2 1 Th o u g htwa re : Operating System f o r t h e Red e s i g n of S o n i c Rea l ity [ - 0 0 6 ] 'the r h i z o m o r p h i c , fracta l s t r u c t u r e of the t r a n s c u l t u r a l , i n t e r n a t i o n a l form a t i o n t h a t I c a l l t h e B l a c k A t l a n t i c , ' G i l roy, 1 9 9 3 , P 4 [ - 0 0 4 ] ' M y t h S c i e n c e ' , f r o m t r a c k t i t l e The Myth -Science Approach, S u n R a , 1 970; ' S c i e n c e a n d t e c h n o l ogy . . . ' , V i r i l i o , 1 9 8 3 a , p 6 z [ - 0 0 2 ] ' t a l ks very h a p p i l y . . . ' , S a d i e P l a n t, M a tthew F u l l e r , A lien Underground Version 0 . 1. S p r i n g 1 9 95; ' a n t i p l a g u e · , R e e d , 1 97 8 , p6 • Sun R a : The Myth-Science Approach from I t 's A fter the En d of the World, M P S , 1 9 70

8[ 1 9 6 ] Tho u g htwa re : World 4 : Muta ntextures o f J azz [ 0 0 2 ) 'The t a p e was .. .', G e o rge R u s se l l , S l eevenotes to R u s se l l , 1 9 80 [ 0 0 3 ) ' p a n s ty l i s t i c e l ec t ro n i c t a p e . . . ' , R u s se l l , S l eevenotes to R u s se l l , 1 9 8 5 a ; 'There are t h r e e .. .', R u s s e l l , S l eevenotes to R u s se l l , 1 9 8 0 [ 0 0 4 ] ' The t h i n g t h a t s o u n d s . . . ' , Russel l , S l eeveno tes to Russe l l , 1 980; 'The voices heard . . . ' , Russe l l , S l eevenotes t o Russe l l , 1 9 85a; ' A n A f r i c a n l u t e . . . ' , Russe l l , S l eevenotes to Russe l l , 1 980 [ O O S ) 'The old N o r w e g i a n .. .', R u s se l l , i b i d ; 'I w a n te d to reflect .. . ' , R u s se l l , S leevenotes to R u s s e l l , 1 9 8 5 a : ' I n t h e African .. .', R u s se l l . S l eevenotes to R u s s e l l , 1 9 8 5 b ; ' M u s i c i s a r c h i t e c t u r e . . . ' , R u s se l l , i b i d [ 0 0 6 ] ' o n e m a c h i n e ' s input. . . ' , Kelly, 1 994, p176 [ 0 0 7 ) ' b e co m i n g a fearfu l . . . ' , R . M u rr a y S c h a fer, Radica l Radio i n S t r a u s s , 1 99 3 , p 2 9 2 ; ' a u d i o m a z e ' , from t r a c k t i t l e A udiomaze, G a c h e t , 1 99 5 [ 0 0 8 ] ' B y t h e a l i e n . . . ' , K e l l y, 1 99 4 , p 1 73 ; ' m a s s i v e l y p a ra l l e l b i o e n g i neered . . . ' , i b i d , p 1 8 3 [ 0 0 9 ) ' t h e a l i en p o w e r. . . ' , K e l l y , 1 9 94, p 1 7 3 ; ' B u t w h e n s h e . . . ' , Tu o t o l a , 1 99 0 , p 1 63 ; ' I t i s t h e e n t i re g l o b e . . . ' , M a t i K l a r w e i n i n j o e l L e w i s , The Wire, D e c 1 994 [ 0 1 0 ) 'Yeste r n o w ' , from t r a c k title Yesternow, Davis, 1 970b; ' Yo u ' re t a l k i n g a b o u t . . . ' , S a r a h C o n n o r i n The Term ina tor; ' co l l a p s a r ' , H a l d e m a n , 1 9 77, P 7 . p 1 8 , p 8 3 [ 0 1 1 ) ' E v e ry t h i n g i s e l ec t r i f i e d . . . ' , j i m i H e n d r i x i n B o o t l.i S a l ew i c z , 1 9 9 5 , p 2 3 7 ; ' s y n t h a r mo n i c ' , P a t r i c k G l ea s o n i n S l e ev e n o t e s , W h i te , 1 975 • M i l e s D a v i s , Bi tches Bre w, C B S , 1 970a • M i l e s Davis: Yestern o w from A Tribute to jack johnson, C o l u m b i a , 1 97 0 b • M i l e s D a v i s : H e L o ved Him Madly from G e t u p with It, C o l u m b i a R e c o r d s , 1 974 • M i l es D a v i s , Agharta, C B S , 1 975 • M i l e s D a v i s : Gondwana from Panga ea, C o l u m b i a Records, 1 975 · M i l e s D a v i s . Dark Magus, C o l u m b i a , 1 975 • D r S . G a c h e t , A u diomaze, L a be l l o B l a n c o . 1 9 9 5 • H e r b i e H a n c o c k : Horn e ts f r o m Sex tan t, C o l u m b i a R e c o r d s . 1 973 • H e r b i e H a n c o c k : Yo u 'll Kno w When You Get There from Mwandishi, W a r n e r Bros, 1 97 1 • H e r b i e H a n c o c k , Crossings, W a r n e r B r o s . 1 972 • H e r b i e H a n c o c k . Headhun ters, C o l u m b i a , 1 973 · H e r b i e H a n cock: Nobu from Realization. C o l u m b i a , 1 974 • j i m i H e n d r i x : And the Gods Made L o ve from Elec tric La dy/an d. P o l y dor, 1 9 6 8 · G e o rge R u s se l l , Electronic Sonata for Souls L o ved by Na ture ( 1 9 8 0 ) , S o u l N o t e , 1 9 8 0 • G e o rge R u s se l l , Electronic Sonata for Souls L o ved by Nature ( 1 9 6 8 ) , S o u l N o t e , 1 9 85a • G e o rge R u s s e l l , The A frican Game, B l ue Note, 1 9 85b • L e n n y W h i te , Venusian Summer, N e m p e ro r R e c o r d s , 1 975 • G u n te r K a i ser. The Medusa Head, Poster A r t , 1 9 6 9 • M a t i K l a rw e i n , S l eeve A r t to Bi tches Brew, C B S , 1 970 • Robert S p r i n ge t t , S l eeve A r t to Sextan t, C o l u m b i a , 1 9 73; to Crossings, Warner B r o s , 1 972; to Thrust, CBS, 1 9 7 4 • Tad a n o o r i Y o k o o , S l eeve A r t to Agharta, C B S . 1 975 • II Deserto Russo. M i c h a e l a n g e l o A n to n i o n i , 1 9 64, NCA • The Termina ror, j a m es C a m e r o n . 1 9 8 4 , 4 Front V i d eo

B[1 97] Thoug htwa re: Tra n smateri a l i z i n g t h e Breakbeat [ 0 1 3 ] 'The d i s covery o r . . .', K a r l h e i n z Stockhausen i n C o t t , 1 9 74, P37; ' A ft e r I took .. . ' , G r a n d m a s t e r F l a s h i n Too p , 1 9 8 2 , p 1 2 8 [ 0 1 4 ] 'Tu r n t a b l e Terra n o v a ' , The M i gh t y U p s e t ter, S l eevenote M a n i festo t o The M i g h t y U p se tter, 1 975; ' o m n i ge n r e : I u n d e rstood t h a t H i p H o p w a s a n a m a l ga m a t i o n o f a l l forms o f m u s i c . . . ' , D j S h a d o w i n M a t t C h i co n e , Rap Pages, O c t 1 9 96; ' T h e I nc r e d i b l e B o n g o B a n d . . . ' , G r a n d m a s t e r F l a s h , Too p , 1 9 82, p72; ' i n a m y t h i c a l b a t t l e ' , i b i d , p 1 2 8 ; ' t h e f a n t a s y l e ve l ' , ibid, p128 [ 0 1 5 ] ' s k r a t c h a de l i a ' , from t r a c k t i t l e Skra tchadelikizm, S o n z o f A Loop d a Loop E r a , 1 9 9 3 [ 0 1 7 ] ' G ra n d m a s t e r c u t s fa s t e r . . . ' , George, 1 9 9 2 , P 7 3 ; ' I w a s l i ke . . . ' , G ra n d m a s t e r F l a s h i n D a n Kee l i ng, Melody Maker, j u ne 2 9 , 1 9 9 6 ; ' M y m i n d a i n ' t . . . ' , N e w K i n g d o m . 1 9 9 6 ; 'The record does what .. .'. I ce T i n M i ke Barnes, The Wire, j u l y 1 9 96; ' Leav e that shit . . . ' , G r a n d m aster F l a s h , To o p , 1 9 82, p q o [ 0 1 8 ] ' D o i n g Bring t h e. . . · . C h u c k D , S l eevenotes to Te r m i n a t o r X , 1 9 9 1 [ 0 1 9 ] ' G i v e n fo u r fi l m . . . ' , j o h n Cage, The Fu ture o f Music: Credo i n K o s t e l a n etz, 1 970, P 5 4 ; ' I c o u l d take . . . ' , M a r l e y M a r l i n Rose, 1 9 9 4 , P79; ' I w a n ted to . . . ' , M a r l e y M a r l , i b i d , P79 [ 0 2 0 ] ' s u d d e n m u l t i p l i c a t i o n o L . . ' , V i r i l i o , 1 9 9 1 , P72 [ 0 2 1 ] ' t u r n ta b i l i z a t i o n ' , from a l b u m t i t l e S tric tly Turn tabilized, Dj K r u s h . 1 9 9 5 [ 0 2 3 ] 'Mars needs', Double Dee G Steinski, 1984 · j o h n Cage, Imaginary Landscape N o 1 ( 1 9 37), H a t A r t • C h i c , Good Times, A t l a n t i c , 1 979 • Dj Krush. Strictly Turn tabilized, M o W a x . 1 9 9 5 • D j Z i n c , Supersharp Shoo ter Rem ix, G a nj a Records, 1 9 9 6 • D o u b l e D e e G S t e i n s k i , L esson J, To m m y B o y , 1 9 8 4 • , • E r i c B G R a k i m : I Kno w You G o t Soul f r o m Paid in Full. 4 t h G B r o a d w a y, 1 9 8 6 G r a n d m a s t e r F l a s h G t h e F u r i o u s F i v e : The Amazing A d ven tures of Grandmaster Flash on the Wh eels of Steel, S u ga r h i l l , 1 9 8 1 • G r a n d Wizard Theodore: Can I g e t a Soul Clap from Old School Butter. Tu ff C i t y Records. 1 997 · The H e l l e rs, Singers, Talkers, Players, Swingers and Doers, 1 9 6 8 , l a b e l u n kn o w n • The I ncred i b l e B o n g o B a n d : Bongo Rock f r o m Re turn to Bongo Mania, 1 973. M G M • B o b j a m e s : Take M e t o the Mardi Gras from Bob james Two. C o l u m b i a , 1 975 · The K n i gh t s of the Tu r n t a b l e , Fresh Mess /. .. jam your Ra dio/. ] D C Records. 1 9 8 5 · K r a ftwerk, Trans-Europe Express, C a p i t o l , 1 9 8 5 • M a n t r o n i x : Electronic Energy Of. . . f r o m Music Madn ess, V i r g i n , 1 9 8 6 • M a n t r o n i x : L oop 2; Loop J; Loop 7 f r o m King of t h e Bea ts, E M I , 1 9 8 8 • M a r l e y M a r l , Marley Marl Scra tch, N i a R e c o r d s , 1 9 8 5 • The M i g h t y U pset ter, Kung F u Meets t h e Dragon, j u s t i c e L e a g u e , 1 975 • New K i n g d o m : Animal from Paradise Don 't Come Ch eap, Gee S t reet. 1 9 9 6 · P h u t u re , A cid Tracks, Trax, 1 9 87 • P u b l i c Enemy, Bring the Noise, Def j a m , 1 9 8 9 · Q u e e n , A n o ther O n e Bites t h e Dust, E M I , 1 9 8 1 • Sonz of A Loop da Loop Era: Skratchade/ikizm from Flowers i n My Gar?en, Suburban Base, 1 9 9 3 • Spoon i e G e e G The S e q u e n c e , Monster j a m , S u g a rh i l l , 1 9 8 1 • Te rm i n a tor X , Termina tor X a n d th e Va lley o f the jeep Bea ts, D e l j a m , 1 9 9 1 • Th i n L i z z y : johnny the Fox m e e ts jimmy the We ed from johnny the Fox, Ve r t i go, 1 9 76

8[ 1 9 8 ] • 3 D / Robert D e l N a j a , S l eeve A r t t o Headz 2, M o W a x , 1 9 9 6 · The W i n s t o n s : Amen Bro ther from Ul tim a te Breaks a n d Bea ts, Volume 2 , S t reet B e a t Records, 1 9 8 6 • Flash Gordon, M i c h a e l Hodges, 1 9 8 0 , B M G V i d e o Th o u g htwa re : Sampladelia of the Brea kbeat [ 0 2 5 ] ' b u i l d i n g m o l e c u l e s on .. . ' , U l t r a m a g n e t i c MCs, 1 99 6 [ 0 2 6 ] ' W e ' r e o p e n i n g t h e m a g n e t i c fi e l d ' , C r i t i c a l B e a t d o w n , 1 9 87; ' th e a u d i t ory c a n a l s are . . . ' , U l t r a m a g n e t i c M C s , 1 9 87; ' e l e v a t i n g a p h y s i c a l . . . ' , i b i d ; ' u l t r a power f l o w i n g ' , F o u r H o rs e m e n of t h e Apoca l y pse, 1 9 9 3 ; ' A l l e l e m e n t s c o n v e rge . . . ' , U l t r a m a g n e t i c M C s , 1 9 9 6 ; ' i n h a b i t a n t s d i sa p p e a r t h r o u g h . . . ' , U l t r a m a g n e t i c M C s , 1 99 6 ( Smoking Dust) ; ' w i res l e a k i n g w i t h . . . ' , F o u r H o r s e m e n o f t h e A p o c a l y p s e , 1 9 9 3 ( Bring i t) [ 0 2 7 ] ' h y p o t h e t i c a l b a s i c m e c ha n i s m s ' , U l t r a m a g n e t i c M C s , 1 9 87; ' l i ke a C o m m o d o r e . . . ' , i b i d ; ' r h y m e s i n m y . . . ' , C r i t i c a l B e a t d o w n , 1 9 8 7 ( A in 't i t) ; ' c o m b i n a t i n g e l e m e n t s ' , U l t r a m a g n e t i c M C s , 1 99 6 ( Brainiacl ; ' O n v o c a b , c o n n e c t . . . ' , C r i t i c a l B e a t d o w n , 1 9 8 7 ( When I Burn) ; ' fu e l i g n i te b l o o d ' , U l t r a m a g n e t i c M C s , 1 9 9 6 ( Bra iniac) [ 0 2 8 ] ' po w e r i g n i t e s t h e . . . ' , F o u r H o r s e m e n of t h e Apoca l y pse, 1 9 9 3 ( Bring i t) ; ' A r t e m i s Level 4 ' , i b i d ; ' I G e t a Warp . . . ' , U l t r a m a g n e t i c M C s , 1 9 9 6 ( Sm oking Dust) ; ' l ' l l ta k e y o u r b r a i n t o a n o t h e r d i me n s i o n . . . ' , U l t r a m a g n e t i c M C s , C r i t i c a l Breakdown, 1 9 87 ( Critical Bea tdo wn) . . The P r o d i gy, 1 9 9 2 ; ' t r u l y confuse as . . . , U l t r a m a g n e t i c M C s , 1 9 8 7 ; ' a d v a n c i n g tech n i ca l ' , i b i d [ 0 2 9 ] ' c h a r g i n g e n e r g y a t . . . ' , U l t r a m a g n e t i c M C s , 1 9 96 ( Brainiac); ' b o o s t i n g c r y s t a l l o i d s . . . ' a s , i b i d ; ' c y b o t r o n , c o m p l e t e l y o n . . . ' i b i d ; 'To s u r v i v e we m u s t . . . ' , C y b o t r o n , S l e e v e n o t e M a n i fe s t o to C y b o t r o n , 1 9 8 5 ; ' W h a t i s a n . . . ' , R a m m e l lzee i n M a l u H a l a z a , S o u l Underground, S u m m e r 1 9 8 8 ; ' y o u r c o m m o n a n d .. . ' , S u n z of M a n , 1 9 9 5 b; ' S c i e nce a n d t e c h n o l o gy . . . ' , V i r i l i o , 1 9 8 3 a , p 6 z ; ' A s tro Black i s . . . ' , S u n R a i n L o c k , 1 9 9 4 , p 1 4 8 [ 0 3 0 ] ' Tu r n t a b l e Te rra n o v a ' , The M i gh t y U p s e t t e r, S l e e v e n o t e M a n i fe s to to The M i gh t y U p s e t t e r , 1 975: ' I ' m h e r e to . . . ' , E r i c B G R a k i m , 1 9 8 8 ; ' G ra rf i t i i s n o t . . . ' , B a n d o i n C h a l fo n t G P r i g o ff, 1 9 87, P72: ' G ra f f i t i is a . . . ' , R a m m e l lzee. M a l u H a l a z a , 1 9 8 8 [ 0 3 1 ] ' W i l d s t y l e i s t o t a l l y . . . , F a b 5 F r e d d y i n G a b l i k, 1 9 8 2 , p72; ' b a l l e t o f pos t u re s . . . ' , M c l u h a n , 1 9 6 2 , p 6 1 ; ' I m a k e l e t ters . . . ' , B a n d o , C h a l fo n t G P r i go ff, 1 9 87, p 7 1 ; 'You h a v e t h e . . . ' , R a m m e l lzee, lkonoklast Panzerism Ma nifesto i n Bea t Cul ture, A rtforum, 1 9 85, q u o ted i n Ta te, 1 9 9 2 , p 1 55; 'Th e i r s o u n d i s .. .', R a m m e l lzee, i b i d , p 1 55; ' a c o n s t e l l a t i o n of. . . ' . M a i l e r, 1 970, p 1 4 9 [ 0 3 2 ] ' a m a t h e m a t i c i a n a n d . . . ' , R a m m e l lzee, 1 9 87; ' b u i l d s w e a p o n s for . . . ' , i b i d ; 'The R o m a n s s t o l e . . . ' , R a m m e l lzee, The Mo vemen t of t h e L e t ter: The Polishing of t h e Eq ua tion Rammellzee in D e r y , 1 9 9 3 , P739: ' m e a n s s y m b o l d e s troyer. . . ' , R a m m e l lzee, Ta te, 1 99 2 , p 1 5 5 [ 0 3 3 ] ' o n Aerod y n a m i cs a n d . . . ' , R a m m e l l zee G S h o c k D e l l , 1 9 87; ' B u t we w a n t . . . ' , i b i d ; ' A l l for m a t i o n a n d . . . ' , i b i d ; ' A s t h e I n terroga t o r . . . ' , i b i d ; ' I n a w a r . . . ' , R a m m e l lzee, 1 9 92 , p 1 45 1 I 55 [ 0 3 4 ] ' W r a t h of t h e . . . ' , from track t i t l e Wra th of the Ma th, j e r u t h e D a m aj a a , 1 9 9 6 ; 'The i n f i n i t y sign .. . ' , R a m m e l l zee, Ta t e , 1 9 9 2 , p 1 55 ; 'The 4 i n tegers .. .', R a m m e l l zee G Shock D e l l , 1 9 87: ' T h e errec t i v e m a t h e m a t i c i a n . . . ' , W i e n e r, 1 9 8 9 , p x i [ 0 3 5 ] ' M e n t a l M a c h i n e ' , E l e c t r i fy i n g M ojo, from t i t l e o f The Men tal Machine: a Book Op era, E l e c t r i f y i n g Mojo, 1 9 9 3 . j S t o n e A u d i o Books, 1 99 3 ; 'You m u s t t a l k . . . ' , R a m m e l l zee G S h o c k

8[ 1 9 9 ) D e l l , 1 9 87; ' O n l y h e h a s . . . ' , i b i d ; 'You h o l d t h e . . . ' , i b i d ; 'You h a v e j u s t g o t t e n . . . ' , i b i d [ 0 3 6 ) ' W e w a n t y o u . . . ' , i b i d ; ' S o m e t i mes I d o n ' t . . . ' , K o o l K e i t h i n A n d r e D a n i e l , True Magazine, j u l y 1 9 9 6 ; ' S pace is my . . . ' , Dr O c t a g o n , 1 9 9 6 ( Earth People) [ 0 3 8 ) ' I s t u d y a n d . . . ' , K o o l K e i t h · · D r O c t a g o n in D a v e To m p k i n s , Rap Pages, j u l y 1 9 9 6 ; ' W h e n he s a y s . . . , D r O c t a g o n , To m p k i n s , j u l y , 1 9 9 6 ; ' T h e for m s o f . . . ' . Fel i x G u a t t a r i , Chaosmosis, P o w e r P u b l i c a t i o n s , 1 9 9 5 . p J 6 ; ' e l e va t i o n ' , D r O c t a g o n , j u l y, To m p k i n s , 1 9 9 6 ; ' new terms . . . ' , i b i d ; ' a d v a n c e tec h n i ca l ' K o o l K e i t h • · D r O c t a g o n , To m p k i n s , j u l y 1 99 6 ; ' p r o g r a m o n e a n d . . . ' , D r O c t a g o n , 1 9 9 6 ( J o oo) [ 0 3 9 ) ' I ' l l t a k e a . . . ' . i b i d ( Blue Flo wers) ; ' I t ' s l i k e if. . . ' , Dr O c t a g o n , To m p k i n s , j u l y , 1 9 9 6 ; ' D r O c t a g o n w a s . . . ' , i b i d ; ' H a l o e s w e r e fo u n d . . . ' , i b i d ; ' I see i t . . . ' K e i t h . , D a n i e l , j u l y 1 9 9 6 [ 0 4 0 ) ' Va n i s h i ng v i c t i m s kep t . . . ' , D r O c t a g o n , 1 9 9 6 ( D r Octagon) ; ' M ega t r o n , Rej u v e n a t e . . . ' , i b i d ( No A waren ess); ' G a l a x y Rays powerfu l ! ' , i b i d ( Raise I t Up); ' C o n t r o l led b y g a m m a l i ghts . . . ' , i b i d ( Earth People); 'Octagon, oxygen . . . ' , i b i d ; ' w a l k i n g through a . . . ' , i b i d ( Technical Difficulties) ; 'My first i m press i o n .. . ' , i b i d [ 0 4 1 ) ' t h i s s e n s e of. . . ' , D u B o i s , 1 9 69, P 4 5 ; ' t a l k i n g i n e v e r y o n e ' s . . . ' , S i r M e ne l i k f r o m D r Octagon, 1 996 [ 0 4 2 ) ' W h a t o f t h e o th e r s . . . ' , S i r M e ne l i k i n j a mes Ta i , Urb 5 0 , A u g / S e p t 9 6 ; ' t h e t i m e w h e n . . . ' , C h r i s M a rker. Sans solei/, 1 9 8 3 ; ' D oes s c i e nce r e a c h . . . ' , D r O c t a g o n , 1 9 9 6 ( On Produc tion) ; ' A l l m a n k i n d m u s t . . . ' S i r M e n e l i k , from i b i d [ 0 4 3 ) ' A c o u s t i c d e a t h by . . . ' , i b i d ; ' i n crease m a g n e t i c f i e l d s . . . ' , D r O c t a g o n , 1 9 9 6 ( On Production); 'We t h i n k as . . . ' , M i xm a s t e r M i ke in B u cky F u k u m o t o 6 j a ma n d r u R e y n o l d s , Grand Roya le, I s s ue 4 ; ' I t ' s the o n l y . . . ' , D i s k i n K e v i n M a rq u es M o o , URB 5 0 , A u g / S e p t , 1 9 9 6 [ 0 4 4 ) ' I de n t i fi c a t i o n C o d e u n i d e n t i fi e d . . . ' , D r O c t a g o n , 1 9 9 6 ( D r O c tagon) ; ' s k i n i s g r e e n . . . ' , i b i d ; ' p a r a m e d i c fe t u s o f . . . ' , i b i d ( Blue Flo wers) ; ' c y b e r n e t i c m i croscopes, i b i d ; ' 2 t e l escopes that .. .' ibid; ' C h u rc h o f t h e . . .', D r Octagon, 1996 ( Blue Flo wers) ; ' a f u t u r e p a t h o l o g i c a l . . . ' . D a v i d C r o n e n b e r g in C h r i s R a d l e y , Sigh t and Sound, j u n e 1 9 9 6 ; ' o u t t h e s ku l l . ' Dr O c t a g o n , 1 9 9 6 ( Earth People) ; ' n e c k s f o r t h e . . . ' , i b i d ; ' I s t u d y a n d . . . ' , K o o l K e i th . , D r O c t a g o n , Tom p k i n s , 1 9 9 6 ; ' m a crosco p e ' , f r o m t r a c k t i t l e Macroscope, C y c l o p s 4 0 0 0 · · S i r M e n e l i k, 1 9 97; ' o p e r a t e on p a t i e n t s . . . ' , K o o l K e i t h · · D r O c t a g o n , To m p k i n s . 1 9 9 6 ; ' i n t e s t i n a l s u rg e r y ' , D r O c t a g o n , 1 99 6 ( I G o t to Tell You) ; ' s a l i v a ' , i b i d ; ' b a s i c h u m a n d e s i g n ' . from t r a c k t i t l e Basic Human Design from j e ff M i l l s , 1 9 9 4 [ 0 4 5 ) ' I w o u l d j u s t . . . ' , K o o l K e i t h · · D r O c t a g o n , To m p k i n s , j u l y , 1 9 9 6 ; 'bees a r o u n d y o u r D r O c t a g o n , 1 9 9 6 ( On Production); ' n aked p i c t u res of. ' i b i d ( Dr Oc tagon); ' t h e c a r t o o n D o n a l d ' , i b i d ; ' S o m e t i m e I d o n ' t . . . ' , K o o l K e i t h · · D r O c t a g o n , To m p k i n s , j u l y, 1 9 96; ' ha l f s h a r k , h a l f. . . ' , D r O c t a g o n , 1 99 6 ( Mr G erbik) ; ' m a s t u r b a t i n g w i t h h u m a n s . . . ' , i b i d ( D r Octagon) ; ' l e a d i n g h u m a n s with .. .', ibid; ' a l l E a r t h peo p l e .. . ' , ibid ( Ea r th People) ; ' y o u there l i ke . . . , K o o l K e i t h . , D r O c t a g o n , To m p k i n s , j u l y , 1 9 9 6 [ 0 4 6 ) ' Do c t o r L u d i c r o u s i n t o . . . · . D r O c t a g o n , 1 9 9 6 ( D r Octagon); 'The perfect e n z y m e ' s . . . ' , i b i d ( Technical Difficulties) ; ' O h m a n h o m e y. . . ' , T h e G e t o B o y s , 1 9 9 2 [ 0 4 7 ) ' I ' m h a v i n g i l l u s i o n s . . . ' . Cypress H i l l , 1 9 9 5 ( Illusions) ; ' L o o k i n g a t t h e . . . ' , S l y S t o n e , 1 97 2 ; 'schizophony ' , R . M u rray S c h a fer, Radical Radio i n S t r a u s s . 1 99 3 , p 2 9 2 ; 'They t o o k a sonogram . . . ' , G ra v e d i ggaz, 1 9 9 4 ( Diary of) [ 0 4 8 ) ' I t's a form of psychosis . . . ' , Tricky in G a v i n M a r t i n , NME, 26 Oct 1 9 95; ' I b e l i e v e y o u ' re . . . ' , R e d m a n i n A d a r i o S t range, The Source, N o v 1 9 9 4 [ 0 4 9 ) ' N o w I d we l l . . . ' , G ra v e d i ggaz. 1 9 9 4 ; ' H o l yc o r e ' , S c i e n t i fi c S h a bazz . . S h a b a z z t h e D i sc i p l e i n j oyce, URB, 4 0 ; ' H ea v e n a n d H e l l i s . . . ' , The R Z A , E v e r e t t T r u e , Melody Maker, S e p t 1 7 , 1 9 9 4 ; ' l e a r n i n g t h e t o r t u r e . . . ' , The R Z A , E v e r e t t True, 1 9 9 4

B(200] [ 0 5 0 ] ' I c o n t a i n t h e . . . ' , S u n z o f M a n . 1 99 5 b ; ' V i s i o n s o f m e . . . ' , S u n z o f M a n , 1 9 95 a ; ' t h e d e p t h s o f ' , i b i d ; ' I was s h o w n . . . ' , G e n i u s , 1 9 9 5 [ 0 5 1 ] ' A l l t h i s s e e m s . . . ' , A n t o n i n A r t a u d . O n t h e Balinese Th ea ter i n R o t h e n b e r g li R o t h e n berg, 1 9 8 3 , p 2 3 9 ; ' s o l d i e r s of i d o l a tr y . . . ' , S u n z of M a n , 1 9 9 5 a ; ' t h e u n i ve r s a l w a r l o r d . . . ' , i b i d ; ' c a m e t o g e t h e r f o r . . . ' , i b i d ; ' H e a rken as t h e . . . ' , i b i d ; ' be d o n e a w a y . . . ' , i b i d ; ' s i d e effects . . . ' , i b i d ; ' i n s a n i ty e n t e r s h u m a n i t y . . . ' , i b i d ; ' t h i s tec h n i q u e i s . . . ' , i b i d ; ' t h e 4 r u n . . . ' , S u n z of M a n , 1 99 5 b ; 'a l i g h t b e a m . . . ' , K i l l a h P r i e s t , G e n i u s , 1 99 5 ; ' b r i n g t h e w i cked . . . ' , S u n z o f M a n , 1 9 95a [ 0 5 2 ] ' S o m e t h i n g o u t s i d e h a d . . .', Dick, 1 99 2 , p 2 0 9 ; 'We re l i n q u i sh e d t h e . . . , ibid, p20 9 - 1 0 [ 0 5 3 ] ' T h e bra i n i s . . . ' , D e l e uze li G u a t t a r i , 1 9 8 7, p 6 4 ; ' W h e n y o u t r i p . . . ' , M a n u e l De L a n d a i n E r i k D a v i s , Mondo 2000, N o v 1 9 9 2 ; ' I c o u l d g e t . . . ' , G e o rge C l i n t o n i n l l o y d B r a d ley, Mojo, S e p t 1 9 9 6 ; ' D e s c r i p t i o n s of it . . . ' , S t e v e n s , 1 9 87, P 3 4 3 [ 0 5 4 ] 'The c a t a s t r o p h e r e p r e s e n t s . . . ' , ) . G . B a l l a rd , Ca ta clysms a n d Dooms, i n B a l l a r d , 1 9 9 6 , p20 9 - 1 0 ; ' W e c a n ' t c l e a n . . . ' , C l i n t o n , B r a d l ey , S e p t 1 9 9 6 ; ' W e t o o k t h e . . . ' , i b i d ; 'Thought i s b i o l o g i ca l . . . ' , R e n e M e n i l i n R i c h a rd s o n li F i s a l ko w s k i , 1 9 9 6 , p 1 50 ; ' Be h o l d , I A m F u n k a d e l i c . . . ' , F u n k a d e l i c , 1 9 70a [ 0 5 5 ] 'the e a t i n g o f . .. , S o n t a g , 1 9 9 4 , P99; ' I f y o u w i l l . . . ' , F u n k a de l i c, 1 97 0 a ; 'I h a v e t a s t e d . . . ' , F u n ka d e l i c , 1 9 7 1 ; ' c o u l d s c a r e you . . . , Roy H a y n e s , S l eevenotes t o F u n k a d e l i c , 1 9 9 3 [ 0 5 6 ] ' i n t o t h e s e r v i c e . . . ' , S a l va d o r D a l i i n S a r t r e , 1 9 8 8 , p 1 53 ; ' m y b ra i n C 3 . . . ' , j e r u t h e D a m a j a a , 1 9 9 4 ; ' E q u i p ped w i t h c o n t r a d i c t o r y . . . ' , D e l a ny, 1 976, p 2 6 ; ' C a n y o u f l y . . . ' , T r i c ky, 1 9 9 5 ( A bbaon Fa t) ; ' S a m p l i n g a l l ows .. . ' , G reg Ta te in The Last A ngel of History, 1 9 9 5 [ 0 5 7 ] 'Yeste r n o w ' , f r o m t r a c k t i t l e Yes terno w, D a v i s , 1 970; ' A m i x t u re o f. . . ' , I s h m a e l R e e d , N e o HooDoo Man ifesto i n R o t h e n b e r g li R o t h e n berg, 1 9 8 3 , p420 [ 0 5 8 ] ' H e a d s p a c e i s the .. .', S c h a fer, 1 9 73, P 3 1 [ 0 5 9 ] ' I f e e l a l ie n . . . ' , Tricky i n S i m o n R e y n o l d s , Melody Maker, j u n e 2 4 , 1 9 95; ' e v e ry t h i n g h a p p e n s a t . . . ' , Tricky, D a v i d B e n n u n , Melody Maker, j a n 2 1 , 1 9 9 5 ; ' M y bra i n t h i n k s . . . ' , T r i c ky, 1 9 9 5 ( Hell is) [ 0 6 0 ] 'The f i r s t s i g n . . . ' , j o b in The L a wn m o wer Man; ' S o it seems . . . ' , T r i c ky li G ra v e d i ggaz, 1 9 9 6 ; 'I s m o ke a .. .', T r i cky, M a r t i n , Oct 1 99 5 ; 'Space race t h e .. . ' , Tricky li G raved i ggaz, 1 99 6 [ 0 6 1 ] ' I escape w i t h . . . ' , Orga n i zed K o n f u s i o n , 1 9 9 1 ; 'There i s n o . . . ' , T r i c k y 6 G raved i ggaz, 1 9 96; 'You h a v e b e e n .. .', i b i d - j a m e s B r o w n : Mind Po wer f r o m The Pa yba ck, P o l ydor, 1 973 · j a mes B r o w n , Revolution of t h e Mind, P o l y d o r, 1 973 • C r i t i c a l B e a t d o w n : A in 't It Good to Yo u; When I Burn; Cri tical Bea tdo wn from Cri tical Bea tdo wn. N e x t P l a t e a u , 1 9 87 • C y b o t r o n , En ter, Fa n t a s y Records, 1 9 8 5 · C y c l o p s 4 00 0 • · S i r M e n e l i k , Ma croscope, U l t i m a t e D i l e m m a , 1 9 97 · C y p r e s s H i l l : Ultra viole t Dreams from Cypress Hill, R u ffhouse/ C o l u m b i a , 1 992 · Cyp ress H i l l : J/Jusions; Temple of B o o m from Temple of B o o m , R u ffh o u s e/Co l u m b i a , 1 9 9 5 · M i l e s D a v i s : Yes tern o w f r o m A Trib u t e to jack johnson, C o l u m b i a , 1 970 • D r O c t a g o n : I G o t to Tell You; Earth People; No A waren ess; Technical Difficulties; Blue Flowers; Dr Oc tagon; Wild a n d Crazy; On Production from Dr Octagon, B u l k/ M o W a x , 1 9 9 6 • E l e c t r i fy i n g M oj o , The Mental Ma chine: a Book Opera, j S to n e A u d i o Books. 1 9 9 3 • E r i c B 6 R a k i m , Follow th e L eader Dub, M C A , 1 9 8 8 · F o u r H o r s e m e n o f t h e Apoca l y p s e : Bring I t D o wn t o Earth; We A re the Horsemen; Raise i t Up f r o m Fo ur Horsemen of t h e Apocalypse, M e rc u ry, 1 9 9 3

B[2 0 1 ] · F u n ka d e l i c : Wha t Is Soul; Mommy Wha r 's A Funkade/ic from Funkadelic. Westbou n d . 1 970a · Funka d e l i c : Eulogy and Light from Free Your Mind And Your Ass Will Follow. Wes tbound. 1970b · F u n ka d e l i c : Maggot Bra in; Wars o f A rmageddon from Maggot Brain. Westbo u n d . 1 9 7 1 · F u n ka d e l i c : Am erica Ea ts I ts Young f r o m A m erica Ea ts I ts Young. Wes t b o u n d , 1 972 • F u n ka d e l i c , Cosmic Slop, Wes t b o u n d , 1 973 • F u n k a d e l i c , Standing on the Verge of G e t ting I t O n , Wes t b o u n d , 1 974 • F u n k a d e l i c , L e e 's Take I t to the Stage, Westbo u n d , 1 975 • F u n k a d e l i c , Tales of Kidd Funkadelic, Wes t b o u n d , 1 9 76 · F u n k a d e l i c, Hardcore jollies, Wes t b o u n d , 1 976 • F u n ka d e l i c . Music For Your Mo ther, Wes t b o u n d , 1 9 9 3 • G e n i u s : Greyhound Part z Remix from Experimental Remixes, j o n S p e n c e r B l u e s • The G e t o B o y s . M i n d Playing Tricks on Me, R a p - a - L o t , 1 9 92 Explosion. M atador. 1 995 · j e rry G o l d s m i t h , Pla n e t of the A p e s OST, Project 3 Records, 1 9 67 • G r a v e d i gg a z : Diary o f a Ma dman; Mommy Wha r 's a Gravedigga?; Dial t-Boo Suicide from Niggamortis, I s l a n d , 1 9 9 4 • j a p a n : Ghost f r o m Tin Drum. V i r g i n , 1 9 8 1 • j e r u the D a m aj a a : Mental Stamina f r o m The Sun Rises i n the East, flrr. 1 9 9 4 • j e r u t h e D a m a j a a , Wrath o f the Ma th, Payday, 1 9 9 6 · L e d Zeppe l i n : Friends f r o m L e d Zeppelin J, A t l a n t i c , 1 9 72 · M a s s i v e A t t a c k . Blue Lines, V i rg i n , 1 9 9 1 • M e t h o d M a n : Sub Crazy from Tical, D e l j a m , 1 9 9 4 • T h e M i g h t y U p s e t t e r , Kung F u Meets the Dragon, j us t i c e League, 1 975 • j e ff M i l l s : Basic Human Design from Waveform Transmissions Volume J , Tresor, 1 9 9 4 • O r g a n i z e d K o n f u s i o n : Releasing Hypno tica l Gases f r o m Organized Konfusion. H o l l ywood Basic, 1 9 9 1 • T h e Prod i gy, Outta Spa ce, X L, 1 9 9 2 • P u b l i c E n e m y : Black Steel in the Hour of Chaos f r o m It Takes a Na tion of Millions t o Hold Us Back, Def j a m , 1 9 8 8 · R a m m e l l z ee 6 S h o c k D e l l , The Lecture, GeeStreetl l s l a n d Records, 1 9 87 • R a m m e l lzee vs K - R o b , Bea t Bop, Profi l e R e c o r d s , 1 9 8 3 • S l y S t o n e : Thank You Fallerin M e B e Mice Elf Agin from There's A Riot G oing On. E d s e l , 1 972 • S u n z o f M a n , Soldiers o f Darkness, Wu Ta n g Records, 1 9 9 5 a • S u n z o f M a n , Five A rch A ngels. W u Ta n g R e c o r d s , 1 9 95b • Tri c ky, A fterm a th, I s l a n d , 1 9 9 4 · T r i c k y : Abbaon Fa t Tracks; Hell I s Round the Corn er f r o m Maxinquaye, I s l a n d , 1 9 9 5 • Tricky 6 G r a v e d i ggaz. Psychosis, I s l a n d , 1 9 9 6 • U l tra magnetic M C s : Bra iniac; Smoking Dust from The Basemen t Tapes. Tu ff C i t y Records, 1 9 9 6 · U l t r a m a g n e t i c M C s : MCs ' Ultra (Part 11/, C i ty B e a t , 1 9 87 • S te v i e Wonder, lnnervisions, M o t o w n . 1 973 • j e a n - M i c h e l B a s q u i a t , Pegasus, p a i n t i n g , 1 9 8 7 • P e d r o B e l l . S l eeve A r t f o r Cosmic Slop, W e s t b o u n d , 1 973; Stan ding on t h e Verge of Getting It On, Wes t b o u n d , 1 974; L e e 's Take It to the Stage, West b o u n d , 1 975; Tales of Kidd Funka delic. Wes t b o u n d , 1 976; Hardcore jollies, W e s t b o u n d , 1 976 • D o n B r a u t i g a n , S l eeve A r t for j a mes Brown, The Payba ck, P o l y d o r. 1 973 · Effram Wo l f. S l eeve A r t to Jnnervisions. Motown, 1 97 3

8[202] · A tomic Cafe, Kev i n R a fferty/j a y n e L o a d e r / P i erce Ra f ferty, 1 9 82, A c a d e m y V i d e o • Benea th the Pla n e t of t h e Apes. T e d Post, 1 970, N C A · Coma, M ic h a e l C r i c h t o n , 1 9 7 8 , N C A · D e a d Ringers, D a v i d C r o n e n berg, 1 9 8 8 , 2 0 t h C e n t u ry Fox H o m e E n t e r ta i n m e n t · jacob 's L a dder, A d r i a n L y n e , 1 9 9 0 , 4 F r o n t V i d e o • The L a s t A ngel of His tory, j o h n A k o m fra h / B i a c k A u d i o F i l m C o l l ec t i v e , 1 99 5 , N C A • The L a wn m o wer Man, Brett Leo n a r d , 1 9 9 2 , F i r s t I n d e p e n d e n t V i deo • The M a n Wh o Fell to Earth, N i c Roeg, 1 97 6 , N C A • Sans solei/, C h r i s M a r ker, 1 9 8 3 , A c a d e m y V i d e o • The Termina tor, j a m e s C a m e r o n , 1 9 8 4 , 4 F r o n t V i d e o Th o u g htwo r e : I n n e r Spot i o l i z i n g the Song [ 0 6 2 ) ' I p u t m y . . . ' , Lee Perry i n To o p , 1 9 95, p 1 1 3 [ 0 6 3 ) ' I i n t r o d u c e m y s e l f . . . ' , I n d e l i b l e M C s , 1 9 97: ' I see t h e . . . ' , Lee Perry i n Too p , 1 9 95, P I I J ; 'You a r e l i s te n i n g . . . ' , Lee Perry in K e v i n M a r t i n , The Wire, M a y 1 9 95; ' W e ' r e t a k i n g over . . . ' , T h e M i g h t y U p s e t t e r , S l eevenote M a n i festo t o The M i gh t y U p s e t ter, 1 975; ' We l l , t h e d r u m s . . . ' , L e e Perry i n T h o m a s M a r k e l l , Grand Royale 2, 1 9 9 5 - 1 9 9 6 ; ' T h e d r u m c o n t r o l s . . . ' , Lee Perry i n Too p , 1 9 95, p 1 1 4 [ 0 6 4 ) 'We are here . . . , The M ighty Upsetter, S leevenote M a n i festo t o The M ighty Upsetter, 1 975 [ 0 6 5 ) 'So m e j o i n .. . ' , Lee Perry, M a r t i n , 1 9 95 [ 0 6 6 ) ' H i s method o f . . .', Steve Barrow i n Dubca tcher, A p r i l / M a y 1 9 94 • 4 H ero: The Paranormal in Four Forms from Various Artists. Macro D u b Infection, V i r g i n , 1 995 • I n d e l i b l e M C s , The Fire in Which Yo u Burn, Rawkus, 1 9 97 • The M i gh t y U psetter, Kung Fu Mee ts the Dragon, j u s t i c e league, 1 975 • The M i gh t y U p s e t t e r : The Tackro from Sho cks o f the Mighty, A t t a c k , 1 9 8 8 • T h e U ps e t t e r : Bird i n Hand; The Lion f r o m Re turn of the Super Ape, Troj a n , 1 9 78 · The U ps e t t e r : R e volu tion Dub; Woman 's Dub; Kojak; Bush Weed; Rain Drops from R e volu tion Dub, Eso l d u n , 1 975 · Fa rewell my Concubine, C h e n K a i g e , 1 9 9 3 , A r t i f i c i a l Eye · Persona, l ng m a r Bergma n , 1966, N C A Th o u g htwo r e : V i rt u a l i z i n g the B r e a kb e at [ 0 6 8 ) 'Tec h n o l og y h a s m a d e . . . ' , G o l d i e i n The Last A ngel of His tory, 1 9 9 5 ; ' O u r d r u m mers don't .. . ' , Kra ftwerk, A n d y G i l l , Mojo, April 1 9 97 ; ' t h i n k i n g a n d h ea r i n g .. .', ibid; ' w e ' v e l o s t the . . . ' , G o l d i e i n Musik, 1 9 95; ' y o u ' re rea d i n g t h e . . . ' , i b i d ; ' Y o u e n d u p w i t h . . . ' , D e g o M c Fa r l a n e i n T i m B a r r , The Mix, A u g 1 9 9 6 [ 0 6 9 ) ' u s e d to t a l k . . . ' , Dego M c Fa r l a n e i n B e t h a n C o l e , Mixmag, Feb 1 99 5 ; ' a u d i o m a z e ' , f r o m t r a c k t i t l e A udiomaze, G a c h e t , 1 9 95; ' s u bcraz i n e s s ' , f r o m track t i t l e SubCrazy, M e t h o d M a n , 1 9 9 4 ; ' k i d s c o m i n g u p . . . ' , Dego M c Fa r l a n e i n Musik, 1 9 9 5 [ 0 7 0 ) ' S c i e n c e t o d a y h a s . . . ' , Pa u l V i r i l i o , Block 1 4 , A u t u m n 1 9 8 8 ; ' p h a n t a s m a p h y s i c s ' , F o u c a u l t, 1 977. p 1 72 ; ' s p ec u l a t i v e fa n t a s y of. . . ' , B a l l a r d , 1 9 9 6 , p 1 9 8

8[203] [ 0 7 1 ] ' P h i z i ca l ' . from t r a c k t i t l e Phyzical, R o n i S i z e . 1 9 9 4 : ' l i m b b y l i m b . . . · . from t r a c k t i t l e Limb b y Limb, M a r v e l l o u s C a i n , 1 9 9 4 : ' W e a r e o b l i ged . . . ' , N o r m a n M a i l e r , The White Negro. in Fe l d m a n G G a r te n berg, 1 96 0 , Pl95 [ 0 7 2 ] ' te m p o r a l reso l v i n g powe r s ' . C h i o n . 1 99 4 , p 1 3 4 : 'flava i n t h e . . . · , t r a c k title Fla va i n y o u r Ear. M a c k , 1 99 4 : ' W h e n k i n e t i c s e n s a t i o n s . . .'. Chion. 1 9 9 4 , p 1 37; ' w e u s e d t o .. . ' , Mark C l a i r i n T i m B a rr. The Mix, A u g 1 9 9 6 : ' n e e d l e p o i n t magick', t r a c k t i t l e o f Needlepoin t Magick, M a g i c k , 1 9 95 [ 0 7 3 ] 'The graffi t i a r t i s t ' , G o l d i e i n Musik. 1 9 95; ' W i l d s t y l e w a s t h e .. .', Kaze l i n C h a l fo n t o Pa l m e r , 1 9 8 4 . p7 1 ; ' t h ree grav i t i o n a l forces . . . ' J . J . Wagener in Escher. 1 9 8 9 . P 9 9 : ' ba c k g r o u n d a n d foregro u n d ' , i b i d [ 0 7 4 ] ' A c r o s s t h e h o r i z o n t a l ' , G o l d i e . S l eevenotes to G o l d i e , 1 9 9 5 a : ' I c a n c o n c e i v e . Escher. 1 9 8 9 , p i l l ; 'The gra ffi t i a r t i s t . . . ' , G o l d i e i n Musik, 1 9 95: 'The l o o p s , t h e y ' v e G o l d i e i n S i m o n R ey n o l d s , The Wire, S e p t 1 9 9 4 [ 0 7 5 ] ' O n Timeless. t h e r e . . . ' , Rob P l a y ford i n T i m B a r r , The Mix, A u g 1 99 6 : ' d i ffe r e n t s t e p s o f . . . ' . Escher. 1 9 8 9 . p i l l ; ' W e ' d g o r o u n d . . . ' , P l a y f o r d , B a r r , 1 9 9 6: ' s n a k i n g o u t a . . . ' , G o l d i e . Reynolds, 1994: 'the zord, the blade. . . ' , ibid [ 0 7 6 ] ' W i t h a s a m p l e . . . ' , A G u y C a l l e d G e r a l d i n P e t e r S h a p i ro, The Wire, O c t 1 9 9 6 : ' Do e s t i m e w o r k . . . ' . A G u y C a l l e d G e ra l d , S l eevenote M a n i festo to A G u y Ca l l ed G e ra l d . 1 9 9 5 : ' Y o u c o u l d crea t e ' , G e r a l d , S h a p i ro , 1 9 9 6 ; 'We have a d v a n ce d . . . ' , A G u y C a l l e d G e r a l d , S l ee v e n o t e M a n i fe s t o t o A G u y C a l l e d G e r a l d , 1 99 5 : ' S a y s o m e o n e h a s . . ' , G e r a l d . S h a p i ro , 1 996 • B r i a n E n o , Apollo A tmosph eres Ei Sound tracks. E G Records, 1 9 8 3 • 4 H e r o : Solar Em issions; Shado w Run; Sunspo ts; Wrinkles i n Time f r o m Para llel Uni verse, R e i n forced Records, 1 9 9 4 · 4 H e r o : The Paranormal i n 4 Forms f r o m Various A r tis ts, Macro D u b Infection, V i r g i n . 1 9 95 · 4 H e r o . Inner City Life Part 1 R emix, ffrr, 1 9 9 5 · D r S . G a c h e t . A u diomaze, L a be l l o B l a nco, 1 9 9 5 • G o l d i e : jah t h e Se ven rh Seal f r o m Timeless. L o n d o n , 1 99 5 a · G o l d i e , Timeless, i. Inner City Life i i . Pressure i i i . jah, f f r r Reco r d s , 1 9 95b • G o l d i e , I n n e r Ci ty Life, ffrr, 1 9 9 5c • G o l d i e . TJ, M e t a l h e a d z . 1 997 • A G u y C a l l e d G e ra l d : Finley 's Rain b o w; The G l o k Track from Black Secrer Technology, J uice Box. 1 995 • A G u y C a l l e d G e r a l d , Nazinji Za ka, j u i ce b o x . 1 9 9 5 • G u s tav H o l st. Pla nets Sui te, • D e u t sche G ra m o p h o n , d a t e u n kn o w n C r a i g M a c k , Fla va in Your Ear, R C A , 1 9 9 4 · j a y M a g i c k , Needlepoint Magick, M e t a l h e a d z , 1 9 9 5 · M e t a l h e a d z , Termina tor, S y n t h e t i c H a rdcore P h o n o g r a p h y , 1 9 9 l · M e t h o d M a n : SubCrazy from Tical, D e f j a m , 1 9 9 4 · M a r v e l l o u s C a i n , Limb b y Limb, S u bu r b a n B a s e . 1 9 9 4 · N oo k i e . Inner Ci ty Life Remix, ffrr. 1 99 5 • Pes hay, Inner City Life Mix. f f r r , 1 9 9 5 • Pes hay, j a h Remix. Razors Edge, 1 9 9 6 · R a n i S i ze , Phyzical, F u l l C y c l e Records. 1 9 9 4 · R a n i S i z e . Inner City Life Insta n t Remix, ffrr, 1 9 9 5 • R u fi g e K r u . Termina tor I f R emix, R e i n fo r c e d . 1 9 9 3

8[204) · R y u i c h i S a k a m o t o . Riot i n Lagos, I s l a n d . 1 9 8 0 · V a n ge l i s . Blade Runner OST, E a s t West, 1 9 9 4 · M . C . Escher, Relativity, l i t h o g r a p h , 1 953 • M . C . Escher, Te trah edral Plan e toid, l i t h o g r a p h , 1 9 53 · G o l d i e, Fu ture World Machine. aeroglyph, reproduced i n C h a l fo n t 6 P r i goff, 1 9 87, p65 • 2 0 0 1 : A Space Odyssey, S t a n l ey K u b r i ck, • The L a s t A ngel of History, j o h n A k o m fra h / B i a c k A u d i o F i l m Co l l ec t i v e . 1 99 5 , N C A 1 9 6 8 , MGM H o m e E n t e r t a i n me n t Thoug htwa r e : Progra m m i n g Rhyt h m a t i c Freq u e n c i e s [ 0 7 8 ) ' I t i s t h e r a t i o n a l i z i n g . . . ' , G e o rges C a n g u i l h e m , Machine a n d Orga n ism i n C r a r y 6 K w i nzer, 1 9 9 2 , p63 [ 0 7 9 ) ' I need a n .. . ' , E d g a r d Varese i n O u e l l e t t e , 1 97 3 , p 1 47 [ 0 8 0 ) ' S o n o t r o n ' , X e n a k i s , 1 974. p 237; ' I m a g i n e s o m e w h e r e in . . . ' , M a n Parr i s h , 1 9 6 3 [ 0 8 1 ) ' p o w e r i n t h e . . . ' , D a r t h Va d e r i n The Empire Strikes Ba ck; ' C l e a r a r e these . . . ' , C y b o t r o n , 1 9 8 5 ( Clear) ; ' E l e c t r o n i c M u s i c a ffects . . . ' , M e r c e C u n n i ng h a m i n V i r i l i o . 1 99 5 , p 1 2 4 ; ' Booga l o o i n ' , r o l l i n ' . . . ' , S h r i m p i n B e n H i ga , R a p Pages. S e p t 1 9 9 6 [ 0 8 2 ) 'Tra i n s t h e m s e l ves a r e . . . ' , Kra ftwerk i n M a r k S i n k e r , Music Technology, 1 9 9 1 [see also Webta l k : S y n t h s i t e / R o l a n d D i sc u s s i o n G ro u p h t t p : / / n e u r a i i J . c s . y o r k . a c . uk/cg i ­ b i s / R o l a nd ( n K ) ]; ' o u r s y n t h e s i zers t o . . . ' , K r a ft w e r k i n M a r k S i n ke r i n K e m p s t e r . 1 9 9 6 . p 9 6 · [ 0 8 3 ) · d readed D r e x c i y a n s t i ngray . . . ' , The U n k n o w n Writer, L a b e l F i c t i o n f r o m D r e x c i y a , 1 9 9 3 a ; ' pregn a n t A m e r i c a - b o u n d . . . ' , D r e x c i y a , S l eevenote M a n i festo to D r e x c i y a , 1 9 97 [ 0 8 4 ] 'water b r e a t h i ng, a q u a t i ca l l y .. . ' , ibid; 'The ships l a n d e d . . .', Mark S i n ker, The Wire, S e p t 1 9 9 2 ; ' D i d t h e y m i gr a t e . . . ' , D re x c i y a , S l eevenote M a n i festo to D r e x c i y a , 1 997; 'The b o r d e r between .. .', D o n n a H a raway, A Manifesto for Cyborgs i n H a raway, 1 9 9 1 , p 1 4 9 ; 'This i s D r e x c i y a n .. .', Drexciya, 1 9 9 3 b ( Bubble Me tropolis) [ 0 8 5 ) ' W h e n t h e f i r s t . . . ' , C l a rke, 1 9 9 2 , p 1 57; ' m a g n e t r o n w h i c h p u t s . . . ' , K i l l a h P r i e s t from Sunz o r Man, 1 9 9 5; 'Video g a m e s a r e .. .', C h r i s M a r ke r i n Sans solei/ [ 0 8 6 ) ' t h e fa c t o r i e s t h a t .. . ' , K r a ftwerk in B u ssy, 1 9 9 3 , p 6 3 ; ' a u t o m a t i c m a c h i nes are .. . ' , W i ener, 1 9 6 9 , p 1 6 2 [ 0 8 7 ) ' More Bounce t o. . . ' , S h r i m p i n B e n H i g a , Rap Pages, S e p t 1 9 9 6 ; ' a s q u a r e ro l l o u t . . . ' , j oj o i n B e n H i ga , Rap Pages, S e p t 1 9 9 6 [ 0 8 8 ) ' W h e n y o u p o p . . . ' , S h r i m p , H i g a , 1 99 6 ; ' a n d r o i d d o o w o p ' , S i m o n R e y n o l d s i n W e i s b a r d , 1 9 95, p 2 1 6 ; ' W e a r e b e g i n n i n g . . . ' , M a n u e l D e L a n d a i n E r i k D a v i s , Mondo 2000, Nov 1 99 2 ; ' Es s R ' a y s ' , from track t i t l e EssR 'ay /Reece Mix}, Reece, 1 9 9 4 [ 0 8 9 ) ' F o r a v e r y. . . ' , G e r t r u d e S t e i n , Composition a s Explana tion i n K o s te l a netz, 1 99 3 ; ' I t w a s n ' t l o o p i n g . . . ' , T h e j u n g l e B r o t h e r s , To ure. The Source, j u l y 1 9 9 3 ; ' A r h y t h m i c , asymmetrica l , a l i near.. . ' , ibid [ 0 9 0 ) ' t h e w i n d o f . . . ' . C h r i s t o p h e r W a l ken i n The A ddiction [ 0 9 1 ) 'You m u s t l e a r n .. . ' , The j u n g l e B r o t h e r s . To u r e , j u l y 1 9 9 3 ; ' N o . . . We m u s t .. . ' , The j u n g l e B r o t h e r s , 1 9 9 3 ( Manmade Materia[) [ 0 9 2 ) ' B r a i n s t o r m s , B r a i n s t o r m s , m a s s .. . ' , The j u n g l e B r o t h e r s , 1 9 9 3 ( Spi ttin ' Wicked) ; 'The p a r a d o x 1 . . .', O r g a n i z e d Konfusion, 1 9 9 1 ; ' I ' m gone . . . I ' m ' , A f Next M a n Flip i n David D a v i e s , i - D, N o v 1 9 9 1 ; ' s c i e n t i f i c peo p l e . . . ' , i b i d

8[205] · A r t o f N o i s e , Close {To the Edit/, Z a n g Tu um Tu m b , 1 9 8 4 · Cybotron : Clear from En ter, Fa n t a s y Records, 1 9 85 • D re x c i y a : Sea Snake from Deep Sea D weller, Shockwave Records, 1 9 9 2 • D r e x c i y a , A qua tic In vasion EP, U R , 1 9 9 3 a · Drexciya: Danger Bay; Positron Island; Bubble Metropolis from Bubble Metropolis EP, U R 1 9 9 3 b • D r e x c i y a : Intensified Magne tron from Molecular Enhancemen t EP, R e p h l e x , 1 9 9 3 c • D r e x c i y a : The Red Hills of L ardossa; The Basalt Zon e 4 · 9 7Z from The Unkn o wn A q uazone A q uapak, UR, 1 9 9 4 i b i d · D r e x c i y a : Darthou ven Fish Men f r o m The journey Home EP, W a r p , 1 9 95 · D r e x c i y a , The Re turn of Drexciya, UR, 1 9 9 6 · D r e x c i y a , Uncharted, S o l d I n D e t r o i t , 1 9 9 6 · D r e x c i y a , The Quest, S u bmerge, 1 9 97 • H a a s h i m , Primrose Pa th, C u t t i n g Records, 1 9 8 6 · The j Bs : {I t 's not the Express/ I t 's t h e ]Bs ' Monaurail f r o m Hustle with Speed, Po l ydor, 1 9 75 · j o n z u n Crew, Space Is the Place, Tom m y Boy, 1 9 8 3 · The j u n g l e B r o t h e r s : Blahbludify; Manmade Ma terial; Spi tcin ' Wicked Randomn ess; For the Headz at Compa n y Z from j Beez Wi t the Remedy, W E A , 1 9 9 3 • T h e j u n g l e B r o t h e r s , Crazy Wisdom, W E A , u n r e l eased • Kra ftwerk, A u tobahn, E M I , 1 975 • K r a ftwerk, Radioactivity, C a p i t o l . 1 976 • Kraftwerk: Sho wroom Dummies from Trans-Europe Express, · E M I, 1 977 Kra ftwerk, Tour de France {Francois Kervorkian Remix/, EM I, 1 9 8 4 · M a n Pa r r i s h : I n the Beginning f r o m Man Parrish, l m p o r t el i z , 1 9 8 3 · O r g a n i z e d K o n fu s i o n : Releasing Hypno tica l Gases f r o m Organized Konfusion, H o l l yw o o d Basic, 1 9 9 1 · Reece: EssR 'ay {Reece Mix/ from Forces, N e t w o r k/ K M S 1 9 9 4 · S o u l S o n i c Force, Pla n e t Rock, To m m y Boy, 1 9 8 2 · S u n z o f M a n , Soldiers of Darkn ess, Wu Ta n g R e c o r d s , 1 9 9 5 · T h e V e l v e t U nd e r g r o u n d , Whi te L igh t White Hea t, Verve, 1 9 6 8 • Z a p p : More Bounce t o the Ounce from lapp, W a r n e r B r o t h e r s , 1 9 8 0 · Z a p p , Comp u ter L o ve from lapp I V U, Warner B r o t h e r s , 1 9 8 6 • Z a p p : I Play the Ta lkbox from lapp 5 , W a r n e r B r o t h e r s , 1 9 87 · The A ddiction, A b e l Fe r r a r a , 1 9 97, Pa t h e D i s t r i b u t i o n • The Empire Strikes Back, G e o rge L u c a s , 1 9 8 0 , 2 o t h Cen t u ry Fox H o m e E n t e r ta i n m e n t • Sans solei/, C h r i s M a rker, 1 9 8 3 , Academy V i d e o Thoug htwa r e : Synthetic Fiction/E lect r o n i c Tho u g ht [ 0 9 3 ] 'The w o r l d o f. . . ' , M a r s h a l l M c l u h a n 6 G . E. S t e a r n , A Dialogue in S t e a r n , 1 9 6 8 , P 3 3 3 [ 0 9 4 ] ' F o r t h e w h i t e . . . ' , Brown, 1 972; ' T h i s i s Coca i n e . . . ' , Phuture, 1 9 87: ' Y o u h a v e b e e n . . . ' , i b i d ; 'Take a s h o t . . . ' , i b i d [ 0 9 6 ] ' S o m e G o d s w i l l . . . ' , R e e d , 1 976, p n ; ' Pa re n t s , D o n ' t l e t . . ' , B a m B a m , 1 9 9 4 ; ' W h e r e ' s y o u r ch i l d ? . . . ' , i b i d [ 0 9 7 ] ' N obody l i kes t o . . . ' , i b i d

8[206] [ 0 9 8 ] ' I n t h e b e g i n n i n g . . . ' . F i n g e r s I n c fea t u r i n g C h u c k R o b e r t s , 1 9 8 8 ; ' O n c e y o u e n t e r . . . . F i n g e r s I n c . 1 9 8 8 ; ' t h e a u t o m a t i c c o m m u n i t y ' , W a l t e r H u g h e s . In the Empire o f the Beat. i n Ross u Rose. 1 9 9 4 . p152 [ 0 9 9 ] ' T h e w a y t o ' , Pa t C a d i g a n i n T r i l l i n g u S w ez e y , 1 9 9 3 , p 1 1 0 ; ' e m o t i o n s e l e c t r i c ' , t r a c k t i t l e Em o tions Electric. A G u y C a l l e d G e r a l d . 1 9 8 8 [ 1 0 0 ] ' ( K r a ft w e r k l s o u n d e d s t r a i g h t . . . ' , M o d e l 5 0 0 i n M a r k E . G . Etern i ty z g , M a y 1 9 9 5 [ 1 0 1 ] ' t h e m u s i c i s . . . ' . R h y t h i m i s R h y t h i m . S l ee v e n o t e s t o V a r i o u s A r t i s ts , 1 9 9 1 ; ' a c o n t i n u a l t e l e s c o p i n g . . . 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' , P u b l i c E n e m y , 1 9 9 0 ( Con tra ct on) [ 1 1 4 ] ' a l a r m for t h e Wor l d ' , P u b l i c E n e m y , 1 9 8 7 ( R ightsrar ter) ; ' T h a t n o i s e c a m e . . . . C h u c k D in S i m o n R e y n o l d s . f r o m j o n e s , 1 9 9 6 . p 2 6 ; ' T h e d r o n e on . . . . i b i d [ 1 1 5 ] ' R e l a te d t o s c h i z o p h r e n i a . . . ' . S c h a fe r . 1 97 7 , p 9 1 ; ' t h e o v e r k i l l o f . . . ' , i b i d ; ' T u r n i t a l l . . E r i c ' V i e t n a m ' S a d l e r i n R o s e . 1 9 9 4 , P 7 4 ; ' f u n c t i o n s o f e y e s i g h t. . . ' . V i r i l i o , 1 9 9 1 , p 2 7 [ 1 1 6 ] ' F i n a l t r a n s m i s s i o n. . . ' , M a d M i ke. R u n - O u t G roove C o m m u n i c a t i o n , G a l a xy 2 G a l a xy, 1 9 9 3 ( H i - Tech ja zz); ' Te c h n o l o gy i s n o t . . . ' , V i r i l i o , 1 9 8 3 a , p 1 3 8 [ 1 1 7 ] ' a p r oj e c t d e v i s e d . . . , M i k e B a n k s i n D o w j o n e s , Touch. j u n e 1 9 9 1 [ 1 1 8 ] ' h a r d m u s i c from . . . ' . U n derground R e s i s t a n c e , 1 9 9 1 e ; ' y o u j u s t w a n t . . . ' , j o e y B e l t r a m i n V a u g h a n A l l e n , Mixmag, j a n 1 9 9 2

8[207) [ 1 1 9 ) ' N o h o p e , n o . . . ' , U n d e r g r o u n d R e s i s t a n c e , severa l C o m m u n i c a t i o n s , 1 9 9 1 /2 ; ' W e cou l d have . . . ' , j o n H a s s e l l i n To op, 1 9 95. p 1 67 ; ' U n d e t e c t i b l e ' , track t i t l e o f S c a n 7. 1 995; 'you can h e a r .. . ' , D o y l e Foreman i n Reed, 1989, p 1 9 3 [ 1 2 0 ) 'Tech n o i s l i k e . . . , M i ke B a n k s i n Peter W a l s h , jockey Slut, j u l y / A u g 1 9 9 4 ; 'There a r e d e fi n i te . . . ' , i b i d ; 'We're s i l e n t a n d . . . ' , i b i d ; ' a s o r t o f. . . ' , Ba u d r i l l a r d , 1 9 95, p 43; ' S p e c t r a l N o m a d ' , t r a c k t i t l e o f The V i s i o n . . R o b e r t H o o d , 1 9 95; ' 6 d a r k e n e r g y . . ' , l a b e l C o m m u n i q u e , Suburban Knight, 1994 [ 1 2 1 ) ' t h e d e p r o g ra m m i n g o f . . . ' , B a n ks , Wa l s h , j u l y / A u g 1 9 9 4 [ 1 2 2 ) ' T h e Wo r l d P o w e r. . . ' , Wor l d Power A l l i a n c e , 1 9 9 2 ; ' D i s a p p e a r a n c e i s o u r . . . ' , V i r i l i o , 1 9 8 3 a , p 1 4 8 ; ' Every v i s i b l e p o w e r. . . ' , i b i d , p 1 4 8 [ 1 2 3 ) ' i s a C P U . . . ' , l a b e l F i c t i o n f r o m S c a n 7, 1 995; ' i nd u ce v i ruses a n d . . . ' , i b i d ; ' d e s i g n e d t o destroy . . . ' , i b i d ; ' d i g i tized a n d returned . . . ' , i b i d ; 'Te c h n o l ogy takes the . . . ' , G o l d i e i n NME, 1 9 9 5 [ 1 2 4 ) ' r e p u d i a ted a n y e t h n i c . . . ' , j u a n A t k i n s . . M o d e l 5 0 0 , K e m p s ter, 1 9 9 6 , p44; ' I t becomes i nc r e a s i n g l y i n fo r m a t i v e to s i m u l a te t h e thought o f t h e cops ' , Nick l a n d i n o ( r p h a n ] d ( r i f t • l. 1 9 95, P356 [ 1 2 5 ) ' I n v e n t i o n s , t h e c r e a t i o n s .. .', V i r i l i o, 1 98 3 a , p 6 3 ; ' A n e l ec t r o n i c i n s t r u m e n t .. . ' , Robert Moog, Historical 6 Proph e tic Writings i n Va l e 6 j u no, 1 99 4 , p 1 34 ; ' p e r s on a l e l ectron i c .. . ' , B a n ks, Wa l s h , j u l y/ A u g 1 99 4 [ 1 2 6 ) 'The s y n t h e s i s e r i s . . . ' , Kra ftwerk, G i l l , A p r i 1 1 997; 'Te c h n o w i l l be . . . ' , B a n k s , W a l s h , j u l y / A u g 1 9 9 4 ; ' T h o u g h t fo r m s i n . . . ' , T r i s t a n T z a r a i n l e i r i s , 1 98 9 , p 8 7 [ 1 2 7 ) 'Tec h n o to m e . . . ' , B a n k s , Wa l s h , j u l y/ A u g 1 9 94 [ 1 2 8 ) 'so that i f. . .', i b i d [ 1 3 0 ] ' E l ec t r i c c i r c u i t r y c o n fers . . . ' , M c l u h a n 6 F i o r e , 1 9 67, p 1 1 4 [ 1 3 1 ] ' m y t h i c w o r l d s of. . . ' , i b i d , p 1 o o [ 1 3 2 ] ' m a te r i a l ize a n i d e a . . . ' , j e ff M i l l s i n Pa u l Benney, jockey Slut, j un e/j u l y, 1 9 9 6 ; ' E v e ry t h i n g y o u press . . . ' , M o u s e on M a r s i n R o b Yo u ng, The Wire, Dec 1 9 94 ; ' t h e n e e d l e s p i r a l s ' , C a t a l o g u e N o t e s , A x i s C a t a l og u e , 1 9 95 [ 1 3 3 ] 'showed u s a .. . ' , Banks, D o w j on e s , j un e 1 9 9 1 ; ' a s u d d e n m u l t i p l i c a t i o n ' , V i r i l i o , 1 9 9 1 , p 7 2 ; 'You h a v e to . . . ' , M i l l s , Benney, j u n e /j u l y 1 9 9 6 [ 1 3 4 ] ' I m a g i n e b e i n g i n . . . ' , S l ee v e n o t e M a n i fe s t o from X - 1 02 , 1 99 2 ; ' S a t u r n ' s r i n g s were . . . ' , ibid [ 1 3 5 ] ' H ow l o n g a . . . ' , M i l l s , B e n n e y, j u n e /j u l y 1 9 9 6 ; ' W h a t he sets . . . ' , A n t o n i n A r t a u d , On the Balinese Thea ter, R o t h e n b e r g 6 R o t h e n berg, 1 9 8 3 , p 2 3 9 ; ' T h e o r i e s a n d s u bj e c t s .. . ' , A x i s M a n i fe s t o from A x i s C a t a l o g u e , 1 9 9 5 [ 1 3 6 ] ' W h e n t h e n eed l e . . . ' , M i l l s , B e n n e y, j u ne/j u l y 1 9 9 6 ; ' I reca l l a N A S A . . . ' , S l eevenotes to M i l l s , 1 9 97 · B a m B a m : Where 's Your Child from Bam Bam, Best of Westbrook Classics, Tresor, 1 9 9 4 · j a mes B r o w n , Revolution of the Mind, Pol ydor, 1 9 6 8 · j a m e s B r o w n , King Heroin, Po l y d o r , 1 972 · A l ice C o l t r a n e w i t h S t r i n g s , World Galaxy, I m p u l s e ! , 1 97 1 · j o h n C o l t r a n e , In terstellar Spa ce, I m p u l s e ! , 1 967 · Cybotron, Techno City, Fa n tasy, 1 9 8 4 • Cybotron, Enter, Fa n t a sy, 1 9 8 5 · C y b o t ro n , Interface: The Roots o f Techno, F a n t a s y Records, 1 99 4 · F i n g e r s I n c, Can You Feel l c, j a ck Tra x , 1 9 8 8 • F i ngers I n c fea t u r i n g C h u c k Roberts, Can You Feel I t, D e s i r e , 1 9 8 8

8[208] • 4 H e r o , Mr Kirk's Nigh tmare, R e i n fo r c e d , 1 9 9 1 · G a l a x y z G a l a x y : A s tral Apache [Star S tories}; Hi - Tech jazz [The Science}; Hi-Tech jazz [The Elemen ts/ from Galaxy 2 Ga laxy EP, U R , 1 9 9 3 • A G u y C a l l e d G e r a l d , A u tomanikk, C B S , 1 9 9 1 · A G u y C a l l e d G e r a l d : Em o tions Electric f r o m Peel Sessions, B B C R e c o r d s , 1 9 8 8 · H e r b i e H a n c o c k , Quasar, C B S , 1 972 · G race j o n e s , She 's Lost Con trol, I s l a n d , 1 982 · j oy D i v i s i o n : She 's Lost Con trol from Unkn o wn Pleasures, Factory, 1 979 • R o l a n d K i rk, Volun teer Sla very, A t l a n t i c , 1 9 6 9 · Kra ftwerk, D i e Mensch Maschin e! The Man Machine, E M I , 1 978 · K r a ftwerk. The Model, E M I , 1 9 8 1 · M a n d r i l l : Two Sisrers of Mercy from Solid, Pol ydor. 1 9 7 1 · A M a r t i a n from D e t ro i t : Stardancer from R e d Plan e t 2 , R e d P l a ne t , 1 9 9 3 · The M a r t i a n : BoB " {Surface Tempera rure mix/ from Red Pla n e r J , R e d P l a n e t, 1 9 9 4 · The M a r t i a n : journey r o rhe Martian Polar Cap, from Red Planet 4, R e d P l a n e t , 1 9 9 4 • T h e M a r t i a n : The L ong Win ter of Mars: Renegades o n the R e d Planet; Season of the Solar · The M a r t i a n : Marisian Probes o ver Montana; Ghos tdancer, Starchild ( a s b y The M a r t i a n s Wind; Base Station ]OJ; Skypain ter from Red Pla n e t 5, Red P l a n e t , 1 9 95 a n d S t a rc h i l d on t h e M ot h e r s h i p L M N O - F u n k ) ; Windwalker ( a s b y T h e M a r t i a n s , A d d i t i o n a l Prod u c t i o n by T h e S u b u rb a n K n i gh t) f r o m R e d Pla n e t 6, R e d P l a n e t , 1 99 5 · Th e M a r t i a n : Firekeeper f r o m R e d Planet 7 , Red P l a n e t , 1 9 97 • The M e ters. just Kissed My Baby, E p i c , 1 973 · jeff M i l l s , Inner Sanctum, A x i s , 1 9 9 3 · j eff M i l l s : Utopia; Man from Tom orro w f r o m Cycle 3 0 EP, A x i s , 1 9 9 4 · j e i ! M i l l s : ig f r o m The Other Day, A x i s , 1 997 · Model s o o , Nigh t Dri ve lthru Babylon}, M e t r o p l e x , 1 9 85a · Model s o o , No UFOs {Original Vocal Mix/, M e t r o p l e x . 1 9 8 5b • P h u t u re , Your Only Friend, Tra x , 1 9 87 • Public Enemy: Rights tarter [Message to A Black Man/; Term inaror X Speaks wi th h is Hands, Mega blas t; Timebomb from Yo! Bum Rush the Sh o w, D e f j a m , 1 9 87 • P u b l i c E n e m y : Coun tdo wn to A rmageddon; Min d Terrorist; Sh o w 'em Wha tcha G o t; Rebel Wi th o u t a Pa use; Terminator X to the Edge o f Panic; L ouder than a Bomb from It Takes a Nation of Millions to Hold Us Back, D e f j a m , 1 9 8 8 · P u b l i c E n e m y , Welcome t o the Terrordome, D e f j a m , 1 9 8 9 · P u b l i c E n e m y : Contract o n the L o ve World jam, War a t JJ . J , Inciden t a t 6 6 . 6 FM, Final Coun t o f the Collision Be tween Us and th e Damned, Welcome to the Terrordome from Fear of a Black Pla n e t, Del j a m , 1 9 9 0 · P u b l i c E n e m y, A rizona A ssassina tion A ttemp t A cca Double D u b , D e f j a m , 1 9 9 2 a • P u b l i c E n e m y , By t h e Time I G e t to A rizona, D e f j a m , 1 99 2 b • P u b l i c E n e m y, Can 't Truss I t {A lmigh ty Ra w 125 th S tree t Boo tleg Mix/, D e f j a m 1 9 92c • P u b l i c Enemy: Whole L o tta L o ve Goin ' On in the Middle of Hell from Muse Sick N 'Hour Message, Def j a m , 1 9 9 4 · Reece, just A n o ther Chance, K M S , 1 9 8 8 • R h y t h i m i s R h y t h i m , Ikon, B uzz/Tra n s m a t , 1 9 9 2 • R h y t h i m i s R h y t h i m , Ka o - ti c Harmony, B uzz/Tra n s m a t , 1 9 9 2 • S a b a l o n G l i tz , Ufonic, O r g a n i c o , 1 99 6 · S c a n 7. Undetectible EP, U R , 1 9 9 5

8[209) · S c i e n t i s t : Laser A t tack; Space Inva ders; Beam Do wn; Red Shift; Time Warp; Pulsar; De Ma terialise from Scien tis t Meets the Space In vaders. G re e n s l eeves. 1 978 • Second P h a s e , Mentasm /joey Beltram Remix}, R6S Records . 1 9 9 1 • K . A l e x i S h e l by. A ll for L e e ·Sah. Tra n s m a t , 1 9 8 9 • S l eezy D , I 've Lost Con trol, T r a x , 1 9 8 6 • S u b u r b a n K n i g h t , The A r t of Sta lking {Sta lker Mix}, T r a n s m a t , 1 9 9 0 • S u b u rb a n K n i g h t : Mind o f a Pan ther f r o m Dark Energy EP, U R , 1 9 9 4 • U n d e rg r o u n d R e s i s t a n ce, Cyberwolf EP, UR, 1991a • U n d er g r o u n d R e s i s t a n c e , Dea th Star EP, U R , 1 9 9 1 b • U n d erground R e s i s t a n c e , Piranha EP, 1 9 9 1 c · U n d e r g r o u n d R e s i s t a nce, The Punisher EP, U R , 1 9 9 1 d • U n d e r g r o u n d R e s i s t a nce, Riot EP, U R , 1 9 9 1 e • U n d e r g r o u n d R e s i s t a nce, Revolu tion for Change, N etwork, 1 9 9 2 • U n d e rg r o u n d R e s i s t a n c e , Sea wolf EP, U R , 1992 • U n d e r g r o u n d R e s i s t a n c e : Biosensors i n Tunnel Complex A frica f r o m Electronic Warfare, · Va r i o u s A r t i s t s , Electro 1 - 12, S t r e e t s o u n d s , 1 9 8 3 - 1 9 8 8 • V a r i o u s A r t i s t s , Techno The N e w Dance Sound of De troit, 1 0 Records, 1 9 8 7 Designs for Sonic Re volu tions double EP, U R , 1 9 9 6 • Va r i o u s A r t i s t s , R e tro Techno, N etwork, 1 9 9 1 • V a r i o u s A r t i s t s , The join t, S u b u r b a n B a s e / M o v i n g S h a d o w , 1 9 94 · Va r i o u s A r t i s t s , The Deepest Shade of Techno, R e i n fo r c e d , 1 9 9 4 • Va r i o u s A r t i s t s , Macro D u b Infection, V i r g i n , 1 9 9 5 • V a r i o u s A r t i s t s , D e e p Conce n t r a t i o n , O m Records , 1 9 97 • The V i s i o n , Spectral Nomad EP, M e t r o p l e x , 1 9 9 5 · j o h n W i l l i a m s , O S T Title Theme from Star Wars, 1 977. l a be l u n k n o w n • Wo r l d P o w e r A l l i a nce: WPA Backing Pla te •1 f r o m Kamikaze EP, U R , 1 9 9 2 · Wor l d 2 Wo r l d : jupiter jazz from World 2 World EP, U R , 1 9 9 2 · X - 1 0 1 : Ra ve N e w World; Mindp o wer from X - 1 0 1 EP, T r e s o r , 1 9 9 1 · X - 1 0 2 : Phoebe; Ti tan; Rhea; Tethys; Hyperion; C-Ring; B - Ring; En cela dus; A - Ring; Ground Zero [The Planet} from X-102 Disco vers 'The Rings of Sa turn ', UR, 1 9 9 2 · j e a n - M i c h e l B a s q u i a t , Pegasus, p a i n t i n g , 1 9 8 7 • G u n th e r F ro h l i n g, S l eeve A r t for D i e Mensch Maschine, • E M I , 1 97 8 A lien, R i d l e y S c o t t , 1 97 9 , 2 o t h C e n t u r y F o x H o m e E n t e r t a i n m e n t • A lien Resurrection, P h i l i p p e j e u n e t , 1 997, 2 o t h C e n t u r y Fox H o m e E n t e r ta i n me n t A lien1 , D a v i d F i n c her, 1 9 9 2 , 2 o t h C e n t u r y Fox H o m e E n t e r t a i n m e n t · A liens, j a mes C a m e r o n , 1 9 8 6 , 2 o t h C e n t u r y Fox H o m e E n te r t a i n m e n t • • The Empire Strikes Back, G e o r g e L u c a s , 1 9 8 0 , 2 o t h C e n t u r y F o x H o m e E n t e r t a i n m e n t • Ghost i n t h e Shell, M a s a m u n e S h i row, 1 9 9 6 , M a n g a E n t e r t a i n m e n t • The M a n Who Fell to Earth, N i c R o e g , 1 97 6 , N C A • The L a s e Angel of History, j o h n Akomfra h / B i a c k A u d i o F i l m C o l l ec t i v e , 1 995, N C A • Me tropolis, F r i t z Lang, 1 927, E u reka V i d eo • Predator z, S t e p h e n H o p k i n s , 1 9 9 0 , 2 o t h C e n t u r y Fox H o m e E n te r t a i n m e n t • 2 0 0 1 : A Space Odyssey, S t a n l e y K u b r i c k , 1 9 6 8 , M G M H o m e E n t e r t a i n m e n t · Tron, S te p h e n L i s be rger, 1 98 2 , N C A • The X Files, C h r i s C a r ter, 1 99 3 , 2 0 t h C e n t u r y Fox H o m e E n t e r t a i n m e n t

8[210] Th o u g htwa re : Mixa d e l i c U n iverse [ 1 3 8 ] 'Good Even i n g . D o .. .', P a r l i a m e n t , 1 9 75a ( P Funk) ; 'an i nv i s i b l e e x c i t e m e n t . .', R. M u rr a y S c h a fer, Radical Radio in S t r a u s s , 1 9 9 3 , p292 [ 1 3 9 ] ' We have t a ke n .. .', Pa r l i a m e n t , 1 975a ( P Funk); 'Welcome t o t h e .. . ' , i b i d : ' C o m i n g to y o u .. . ' , ibid: ' D r a w a spaceman .. . ' , O v e r t o n l l o y d i n L l oy d B r a d l ey , Mojo, S e p t 1 9 9 6 [ 1 4 0 ] ' e g o t r i p p i n g a n d . . . ' , Pa r l i a m e n t , 1 975b { D r Funkenstein); ' A n d f u n k i s . . . ' , Pa r l i a m e n t , 1 975b ( Prelude) ; ' li k e a t r i c k . . . ' , Pa r l i a m e n t , 1 975a ( Un funky UFO) ; ' I w a s m e r e l y . . . ' , B o o t s y Co l l i n s i n M i c h a e l G o nza l ez, The Source, Dec 1 99 4 : ' i n w h i c h a . . . ' , Reed, 1 9 8 9 , p259: ' I ' v e got a . . . ' , C o l l i n s , 1 978 ( Hollywood Squares) [ 1 4 1 ] ' t h e m i n d to . . . ' , S t u a r t Cosgrove, Collusion, S e p t 1 9 8 3 : ' W h e n y o u m e e t . . . ' , S l y a n d t h e Fa m i l y S t o n e , 1 973 i b i d : ' s w i n gs l o w ' , Pa r l i a m e n t , 1 975a ( Mo thership Conn ection) ; ' li g h t y e a r s i n . . . ' , i b i d : ' h a v e r e t u r n e d t o . . . ' , i b i d : ' h a s b e e n h i d d e n . . . ' P a r l i a m e n t , 1 975b ( Prelude) ; ' c i t i z e n s of t h e . . . ' , Pa r l i a m e n t , 1 975a [ 1 4 2 ] ' I n t h e d a y s .. . ' . Pa r l i a me n t , 1 9 75b ( Prelude); 'There i n t h e s e .. . ' , i b i d : 'super cool o h .. . ' , O v e r t o n L l o y d from B o o k l e t t o Pa r l i a m e n t , 1 977; ' A n d i n a . . . ' , L l o y d , i b i d : ' t h e a c t i v e r e p r e s s i o n . . . ' , S i d r a n , 1 9 95, p 1 1 0 ; ' P i c t u re w i t h i n a . . . ' , Pa r l i a m e n t , 1 977 ( Sir Nose) [ 1 4 3 ] ' I am S i r .. . ' , i b i d : ' t h e s u b l i m . . . ' , i b i d : ' d o i n g it to .. . ' , Pa r l i a m e n t , 1 975a (P Funk) [ 1 4 4 ] 'Threee b l i n d m i c e . . . ' , Pa r l i a me n t , 1 977 ( Sir Nose) ; 'I w a n n a be . . . ' , Co l l i n s , 1 978 ( R o t a ­ Rooter) : ' H a v e y o u ever . . . ; Pa r l i a m e n t , 1 977 ( Funken te/echy) [ 1 4 5 ] ' y o u are a .. . ' , B u r r o u g h s , 1 9 87, p 1 5 6: 'a p a r t of .. . ' , R a y D a v i s , S l eevenotes from F u n k a d e l i c, 1 99 3 : ' ga m i n g on ya', track t i t l e Gaming on Ya, Pa r l i a m e n t , 1 975a: 'Pay a t t e n t i o n b e c a u s e . . . ' , Pa r l i a m e n t , 1 977 ( Funken telechy) ; ' o p e r a t i v e s i g n a l s d i re c t i n g . . . ' S c h a fer, 1 977: ' o v e r b u r d e n w i t h l o g i c ' , S l og a n from G a t e l o l d I n n e r S l eeve, Pa r l i a m e n t , 1 97 9 : ' a pos i t i v e Ioree . . . ' , Par l ia m e n t . 1 979 ( Th em e) ; ' y o u ' re d e s t i n e d t o . . . ' , S l o g a n from G a t e f o l d I n n e r S l eeve, Pa r l i a m e n t , 1 9 79 [ 1 4 6 ] ' m e t a progra m m i n g is a n opera t i o n in w h i c h a cen t r a l c o n t r o l s y s t e m c o n t r o l s h u n d reds o f t h o u s a n d s o f p r o g r a m s o p e r a t i n g i n p a ra l le l s i m u l t a n e o u s l y . . . m e t a p rogra m m i n g i s d o n e o u t s i d e t h e b i g s o l i d s t a t e c o m p u t e r s b y t h e h u m a n p r o gr a m m e r s ' , l i l y , 1 974, p i x : ' Lo o k a t y o u . . . ' , S l y a n d t h e Fa m i l y S t o n e , 1 972: ' H o w d o Y e a w . . . ' , F u n k a d e l i c , 1 9 7 6 a : ' re a l l y d o g y o u ' , P r i n c e Pa u l , Vibe, 1 9 95; ' b u r n i n g , c h u r n i n g a n d . . . ' Pa r l i a m e n t , 1 975b { Dr Funkenstein); ' b u r n i n g you on . . . ' , i b i d [ 1 4 7 ] ' u rge overk i l l ' , Pa r l i a m e n t , 1 977: 'Th i s i s M o o d . . . ' , i b i d : ' fa s t e n y o u r s e a t . . . ' , i b i d : ' D o t h o u g h t s o f . . . ' , F u n k a d e l i c , 1 97 6 a ( H o w d o Yea w) ; ' M oo d M o o d , S o m e o n e . . . ' , Pa r l i a m e n t , 1 977: ' w h o l e c u l t u res c o u l d . . . ' , M c L u h a n , 1 9 9 4 , p z 8 : ' S o m e o n e ' s t a l ki n g , f u n k i n g . . . ' , Pa r l i a m e n t , 1 977 [ 1 4 8 ) ' A funk a .. . ' , i b i d : 'The secret t o .. . ' , i b i d : 'There ' s n o t h i n g t h a t . . . ' , i b i d [ 1 4 9 ] ' Y o u deserve a . . . ' , i b i d : ' Every t h i n g w a s s t acked . . . ' , C l i n to n , B r a d l ey, S e p t 1 99 6 [ 1 S o ] ' F u n k n o t o n l y . . . ' Pa r l i a me n t , 1 977 ( Funken telechy) ; ' "I' m g o n n a a d d . . " ' , L a r r y G ra h a m i n Dancing i n t h e S tree ts, B B C z , 1 99 6 : ' W h a t c h a g o n n a d o . . . ' , S u n R a , 1 9 8 2 [ 1 5 1 ] ' W e a r e t h e . . . ' , Pa r l i a me n t , 1 97 8 b : ' N ow I l a y . . . ' , i b i d [ 1 5 2 ) ' j u s t M e , M y s e l f. . . ' , D e I a S o u l , 1 9 8 9 : ' A m o t i o n p i c t u r e . . . ' , Pa r l i a m e n t , 1 97 8 a ( A q u a Boogie) ; ' We a r e a .. .', K a r l h e i n z S to c k h a u s e n i n Bj o r k , D a z e d and Confused, Aug 1 99 6 : ' r a i s e to t h e . . . ' , Pa r l i a m e n t , 1 978a ( Deep) ; ' a m y s t i c a l m e e t i n g . . . ' , i b i d ( Th e Motor) , ' o n t h e s a m e . . . , i b i d ( Wa ter Sign) [ 1 5 3 ] ' W i t h t h e rhythm .. . ' , i b i d (Aqua Boogie); 'Tech n o l ogy a u t o m a t i ca l l y causes .. . ' , Pedro B e l l i n j a mes, 1 995, p 1 4 1 : ' t h e p r i m a l act. . . ' , W i l l i a m G i bson, A ca demy Leader i n Bened i k t , 1 9 9 1 , p27

8[2 1 1 ] • Bootsy Co l l i n s : Hollywood Squares; Rota-Roo ter from Player of the Year. W a r n e r B r o t h e r s . 1 978 • De I a S o u l , Me Myself and I, Big L i fe , 1 9 8 9 • F u n ka d e l i c : H o w d o Yea w vie w You ? from Tales of Kidd Funka de/ic, Wes t bo u n d , 1 976a • F u n k a d e l i c : Undisco Kidd from Hardcore jollies, Westbo u n d , 1 976b · F u n k a d e l i c : One Na tion Under a Groo ve; Who says a Funk Band Can 't Play Rock Music • F u n k a de l i c , Music for Your Moth er. Wes t b o u n d , 1 9 9 3 · Pa r l i a m e n t : P Funk {Wa n ts t o G e t Funked Up/; Mothership Connection (Star Child); from One Na tion Under a Groo ve, Wa r n e r B r o t h e r s , 1 978 Unfunky UFO; from Moch ership Connection, C a s a b l a n c a , 1 9 75a • Pa r l i a m e n t : Prelude to Dr Funkenstein; The Clones of Dr Funkens tein; Gaming on Ya from The Clones of Dr Fun kenstein, C a s a b l a n c a , 1 975b • Pa r l i a m e n t : Funken telechy; Sir Nose D ' Voidofunk; The Pla cebo Syn drome from Funken relechy vs. The Pla cebo Syndrome, C a s a b l a n c a . 1 977 · Pa r l i a m e n t : The Motor-Booty A ffair; A qua Boogie {A Psychoalphadiscob eta­ bioa quado/oop/; { You 're a Fish and I 'm a/ Wa ter Sign; Deep from Motor-Booty A ffa ir, C a s a b l a n c a , 1 978a · Pa r l i a m e n t , Flashligh t 12 " mix, C a s a b l a n c a , 1 97 8 b · Pa r l i a m e n t : Gloryhallasroopid {Pin t h e Tale on th e Funky{; Th eme from t h e Bla ck Hole from Gloryhallas roop i d, C a s a b l a n c a , 1 979 • Pa r l i a m e n t : Funkencyclo-p -dia from Tear the Roof Off 1 9 74 - 1 9 80, C a s a b l a n c a , 1 9 9 3 · S l y a n d t h e Fa m i l y S t o n e : Runn ing A way from There 's a Riot Gain ' O n , E d se l , 1 972 • S l y and the Fa m i l y S t o n e : If Yo u Wan t Me to Stay from Fresh, E d s e l , 1 973 · S u n Ra, Nuclear War. Y Records, 1 9 8 2 • Dan cing i n the S tree ts, B B C 2 , 1 9 9 6 · Dune, D a v i d L y n c h , 1 9 8 4 , E l ec t r i c P i c t u res • The Man Who Fell to Earth, Nic Roeg, 1976. NCA • Twin Peaks, David L y n c h , 1989, Warner H o m e Video Thoug htwa r e : Synth e s i z i n g t h e O m n iverse [ 1 5 4 ] 'The I m poss i b l e a tt r a c t s .. .', Sun Ra i n Lock, 1 9 8 8 , p15; 'I a i n ' t part . . . . Sun R a i n Lock, 1 994. p 1 5 0 [ 1 5 5 ] 'The p e o p l e h a v e . . . ' , S u n Ra i n Spa ce I s the Place; ' I t ' s a fter t h e . . . ' , j u n e Tys o n , i b i d [ 1 5 6 ] ' N ew P h i l o s o p h y o f . . . ' , j a mes, 1 9 92, P P 1 5 3 - 1 6o ; ' e v e n t h e d e a d . . . ' , W a l t e r Benj a m i n , Theses o n the Philosophy of History i n Benj a m i n , 1 99 2 , p 247; ' t u r n s to t h e . . . ' , Fa n o n , 1 9 67, p 1 6 9 ; ' v e r y b e a u t i f u l and . . . , i b i d , p 1 69 [ 1 5 7 ] ' I f y o u l a u nch . . . ' , R a m m e l lzee, Peter S h a p i ro , The Wire, A p r i l 1 9 97; 'a reasona b l e c i t izen . . . ' , E l l i so n , 1 9 8 4 , P 3 5 5 ; ' I ' m n o t a . . . ' , S u n R a , Fa llen A ngel i n Oasis Semio text{e/ Volume I V. Number ), 1 9 8 4 , p u s ; ' I t ' s an i n n e r .. . ' , S t o c k h a u s e n in N ev i l l , 1 9 8 9 , p 1 8 ; 'The I m p o s s i b l e i s .. .', Sun Ra, S l eevenote M a n i fe s t o from Sun Ra a n d his Solar Arkestra, 1 9 92 [ 1 5 8 ] 'The M o t h e rs h i p and .. .', 01' D i r t y Bastard i n E m m a Forest, T h e Independen t, 5 j u ly, 1 9 9 6 ; ' H o w do you . . . ' , Space I s t h e Place; ' Chronicle of Post S o u l Black Culture' i n George, 1 9 92. p p 1 -40; ' a s pacite p i c t u re . . .', S u n R a , S l eevenotes to S u n R a , 1 9 56 ( 1 5 9 ] 'In Brainville, 1. . .', ibid; ' E a r t h i s a l re a d y .. .', K i l l a h P r i e s t from G e n i u s / G Z A , 1 9 95;

B( 2 1 2 ) ' I NSTRUCT I O N TO T H E. . . ' , S u n Ra, S l e e v e n o tes to Sun Song, q u o ted i n lock, 1 9 8 8 , p p 1 4 - 1 5 ; ' W e d i d n ' t h a v e . . . , P h i l C o h r a n , S le e v e n o t e s , S u n R a a n d h i s S o l a r A r k e s t r a , 1 9 9 2 ; ' W i t h t h e a i d . . . ' , X e n a k i s , 1 9 74 . p 1 4 4 [ 1 6 0 ) ' S o n o t r o n : a n a c c e l e r a t o r o f s o n o r o u s p a r t i c l e s, a d i s i n te g r a t o r o f s o n o r o u s m a s s e s , a s y n t h e s i s e r ' , i b i d , p237; ' Es s R ' a ys ' , from t r a c k t i t l e EssR 'ay {Reece Mix/, Reece, 1 9 9 4 ; ' A r e t h e r e a n y . . . ' , Space is th e Place; ' M u l t i p l i c i t y A dj u s t m e n t , R e a dj u s t m e n t . . . ' , i b i d ; ' A n y s u f f i c i e n t l y a d v a nced . . . ' , C l a rke i n H a l d e m a n , 1 9 7 9 , p 1 ; ' A t the m a t e r i a l . . . ' , D e l a n y i n Dery, 1 9 9 3 , P7 4 8 [ 1 6 1 ] ' I n f a c t , I ' v e . . . ' , S u n R a i n S t e v e D o l l a r , Eigh t Rock Vol 2 N o J, 1 9 9 3 p 1 6 8 . ' I a m a n . . . ' , from S u n R a , Poem, S u n R a , 1 9 9 4 ; ' W h e n t h e a r m y . . . ' , S u n Ra i n W i l mer, 1 977. p 77 [ 1 6 2 ) ' O n l y one t h i n g .. . ' , l e w i s M u m fo r d , The Myth of the Ma chine in B r o c k m a n IJ R o s e n fe l d , 1 97 3 , p 1 0 4 ; ' k a o - t i c h a r m o n y ' , t r a c k t i t l e Kao - Tic Harmony /R elic of Relics/, R h y t h i m is R h y t h i m , 1 9 9 2 [ 1 6 3 ) ' S pace is a . . . ' , P h i l C o h r a n , S l eevenotes, S u n R a a n d h i s S o l a r A r ke s t r a , 1 9 9 2 ; ' I w a s u s i n g . . . ' , Ta b H u n t er, S l eevenotes to S u n R a a n d h i s M y t h S c i e n c e A r k e s t r a , 1 9 9 2 ; ' W h a t i s t h e . . . ' , Space i s the Pla ce; T h i s m u s i c i s . . . ' , i b i d • E a r t h W i n d a n d F i r e , I A m , C B S , 1 9 79 · G e n i u s/ G Z A : Basic Instructions Before Lea ving Earth from Liquid Swords, G e ffen, 1 9 9 5 • H e r b i e H a n c o c k , Thrust, Wa r n e r B r o t h e r s , 1 9 7 4 • Reece: EssR 'ay {Reece Mix/ from Forces, N e t w o r k/ K M S 1 9 9 4 • R h y t h i m i s R h y t h i m , Ka o - Ti c Harmony {Relic of Relics/, T r a n s m a t / Buzz, 1 9 9 2 · S u n R a : Brain ville from jazz by S u n Ra!Sun Song, D e l m a r k , 1 9 5 6 • S u n R a , T h e Heliocen tric World o f S u n Ra V o l 2, E S P, 1 9 6 5 • S u n R a : A s tro Black Mythology from Astro Bla ck, I m p u l s e , 1 9 7 2 · S u n Ra a n d h i s M y t h S c i e n c e A r k e s t r a , Cosmic Tones for Men tal Therapy, E v i d e n c e , 1 9 9 2 · S u n R a a n d h i s S o l a r A r k e s t r a , In terstellar L o w Ways ( 1 9 6 0 ) , E v i d e n c e , 1 9 9 2 • S u n R a a n d h i s A s t r o I n f i n i t y A r k e s t r a , M y Brother The Win d Volume II, E v i d e n c e , 1 9 9 2 • S u n R a a n d h i s M y t h S c i e n c e A r k e s t r a , Fa te in a Pleasa n t Mood/ When Sun Comes Out, Evidence, 1993 • S u n Ra, I A m a n Instrumen t, B l a s t F i rs t / W i r e E d i t i o n s , 1 9 9 4 · S h u z e i N ag a o k a , S l eeve A r t f o r E a r t h W i n d a n d F i r e , I Am, C B S , 1 97 9 • A lien Nation, G ra h a m B a ker, 1 9 8 8 , 2 o t h Century Fox H o m e E n t e r t a i n m e n t • Blade Runn er, R i d l e y S c o t t , 1 9 82, W a r n e r H o m e V i d e o • Brother from A n o ther Plan e t, j o h n S a y l e s , 1 9 8 4, A r r o w F i l m D i s t r i b u tors • In tolerance, D . W. G r i ff i t h s , 1 9 1 6 , V i s i o n • La je tee, C h r i s M a rker, 1 9 6 2 , N o u v e a u E n t e r t a i n me n t • Nigh t of t h e L i ving Dead, G eorge R o m e r o , 1 9 6 8 , Ta r t a n V i d e o · Pla n e t of t h e Apes, F ra n k l i n j . S h a ffner, 1 9 6 8 , 2 0 t h C e n t u r y Fox H o m e E n t e r t a i n m e n t · The Termina tor, j a m e s C a m e r o n , 1 9 8 4 , 4 Fro n t V i d e o · Space I s the Place, S u n R a a n d h i s I n terga l a c t i c S o l a r A rk e s t r a , 1 9 9 4 , B l a s t F i r s t V i d e o

8[ 2 1 3 ] Thoug htwa r e : Co s m o l o gy o f Vol u m e [ 1 6 4 ] ' T h e a u d i e nce f o r . . . ' , J u l i a n S c h n a b e l , Basquia t; ' I t ' s l i ke rewri t i n g . . . ' , R a s h i e d A l i i n W i l m er. 1 977, p234 [ 1 6 5 ] 'Ohnedaruth [J o h n C o l t r a n e ] .. .', A l ice Coltrane, S l eevenotes to A l ice Coltrane. 1 97 1 ; ' E l ec t r i c c h a n n e l s o f . . . ' , M a r s h a l l M c l u h a n i n M o l i n a ro. M c l u h a n 6 Toye, 1 9 8 7 . P 4 4 3 [ 1 6 6 ] ' Co s m i c e n e rgy - a t o m i c . . . ' , A l i c e C o l t r a n e , S l eevenotes to j oh n C o l t r a n e / A l ice Coltrane. 1 9 6 8 ; ' B e fore O h n e d a r u t h ' s i n i t i a t i o n .. . ' , A l i ce C o l t r a n e. S l eevenote M a n i festo to A l i ce C o l t r a n e , 1 972; ' e m b r a c e i s so .. . ' , i b i d ; ' A n d r o m e d a i s a .. . ' , i b i d [ 1 6 7 ] ' e x traord i n a r y t r a n s o n i c a n d . . . ' , A l ice C o l t r a n e , S l eevenotes to A l ice C o l t r a n e , 1 9 7 1 ; ' e m b ra ces cos m i c t h o u g h t . . . ' , i b i d ; ' i s rem i n i sc e n t of . . . ' , i b i d [ 1 6 8 ] ' S h e i s a . . . ' , A m e e r B a r a k a · · Le r o i j o n e s , S l eevenotes to A l ice C o l t r a n e , 1 9 6 8 [ 1 6 9 ] ' H e a l w a y s fe l t . . . ' , A l i c e C o l t r a n e , i b i d ; ' H e was d o i n g . . . ' A l i c e C o l t r a n e . S l eevenotes to A l ice Coltrane, 1 9 7 8 ; ' I a m l o o k i n g .. . ' , John Coltrane i n A l ice Coltrane, S l eevenotes to A l i c e C o l t r a n e . 1 9 6 8 ; 'I d o wish .. .', A l i c e C o l t r a n e . 1 9 7 8 [ 0 7 0 ] ' N u c l e a r d e a t h gives . . . . S y l vere L o t r i n g e r i n V i r i l i o , 1 9 8 3 a , p 1 58 ; ' p l ex u s o f v o i c es . . . ' , A . B . S p e l l m a n , S l eevenotes t o j oh n C o l t r a n e , 1 96 5 a ; ' M o s t o f t h e . . . , A r c h i e S h e p p i n i b i d ; ' w h a t the a c t i o n . . . ' , i b i d ; ' t e x tures r a t h e r t h a n . . . ' , i b i d ; ' C o l t r a n e ' s s t ress o n . . . , ' S i d ra n , 1 9 95, p 1 48 ; ' a c o m p l e x theory . . . ' , i b i d , p 1 48 ; ' W e ' r e t a k i n g t h e m . . . ' , i b i d , p 1 4 1 [ 0 7 1 ] ' W e a r e g e t t i n g . . . ' , i b i d , p 1 4 1 ; ' a n energy f i e l d . . . ' , i b i d , p 1 48; ' K i y o s h i K o y a m a : W h a t . . . ' . T h o m a s , 1 9 9 4 , p 2 1 o ; ' W h e n j o h n C o l t r a n e . . . , S i d ra n . 1 9 9 5 , p 1 47; ' a n i n s t r u m e n t w h i c h . . . ' , i b i d , p 1 40 ; ' " I p e r c e i v e d t h e . . . " ' , C o l t r a n e i n T h o m a s . 1 99 4 , p 2 1 5 ; ' W h e n y o u t r i p . . . ' , M a n u e l De L a n d a i n E r i k D a v i s , Mondo zooo, N o v 1 9 92 [ 1 7 2 ] ' A n d t h e offe r i n g s .. .', john Coltrane from john C o l t r a n e , 1 9 65c; 'It i s t h e .. .', P h a r a o h S a n d ers. S l eevenotes to S a n d e r s , 1 9 67; 'The t i m e fee l i n g . . . , S i d r a n , 1 9 9 5 , p 1 3 9 ( 1 7 3 ] ' S o w e s a n g . . . ' , j u n o L e w i s from j o h n C o l t r a n e , 1 965b; ' I a l w a y s t h o u g h t . . . ' , A r t D a v i s i n T h o m a s , 1 9 9 4 , p 2 1 5 ; ' a m u s i c a l o n e . . . ' , A l ice C o l t r a n e . S l eevenotes to A l i c e C o l t r a n e , 1 97 8 [ 1 7 4 ] ' I n a l l r i t u a l . . . ' , W i l mer, 1 977. P H ; ' A a a H a a , The Case of. . . ' . K i rk, 1 9 6 8 ( Black Mystery) · O r n e t t e C o l e m a n , Free jazz, A t l a n t i c , 1 960 • A l i ce C o l t r a n e : Oceanic Belo ved; A tomic Peace from A Monastic Trio, I m p u l se ! , 1 9 6 8 • A l ice C o l t r a n e : Hare Krishna; Wars of A rmageddon; The A nkh of A m e n R a ; Om A llah; Sica Ram from Uni versal Consciousn ess. I m p u l s e ! , 1 9 7 1 · A l i c e C o l t r a n e w i t h S t r i ngs: Galaxy around Olodumare; Ga laxy i n Turiya a n d Ga laxy in Sa tchidananda from World Galaxy, I mp u l se ! , 1 97 1 · A l i ce C o l t r a n e : A n dromeda 's Suffering from L ord o f L ords, I m p u l se ! , 1 972 • A l i c e Coltrane, Transfigura rion, Wa r n e r Bros. 1 97 8 · j o h n C o l t r a n e / A l i c e C o l t r a n e : The S u n from Cosmic Music, I m p u l se ! , 1 9 6 8 · j o h n C o l t r a n e , A L o ve Supreme, I m p u l s e ! , 1 9 6 3 · j o h n C o l trane. A scension, I m p u l s e ! . 1 9 65a · J o h n C o l t r a n e . Kule Se Mama, I m p u l s e ! , 1 9 65 b · j o h n C o l t r a n e . O m , I m p u l s e ! , 1 9 65c · john C o l t r a n e : O u r of Chis World from L i ve in Sea rtle, I m p u l s e ! 1 9 6 6 · j o h n C o l t r a n e : Sa turn; Mars; Venus; jupiter f r o m ln ters cellar Space. I m p u l s e ! , 1 9 67 · john C o l t r a n e with S t r i n g Orchestra a r r a n ged and c o n d u cted b y A l i c e C o l t r a n e : L i ving Space (A lice Coltra n e Remix/ from Infinity, I m p u l s e ! , 1 972 · Egy p t i a n E m p i r e . The Horn, ffrr, 1 9 92

8[2 14) • R o l a n d K i rk, Blackn uss, A t l a n t i c , 1 972 • R o l a n d K i rk, Black Mystery Has Been Re vealed from Left and Righ t, A t l a n t i c, 1 9 6 8 • P h a r o a h S a n d e r s : Capricorn Rising f r o m Ta uhid, I m p u l se ! , 1 9 67 · P h a r a o h S a n d e r s : The Crea tor Has a Mas ter Plan, from Karma, I m p u l se ! , 1 9 6 9 • P h a r a o h S a nders: L e t U s Go in ro t h e House o f t h e L ord, from D e a f. D u m b a n d Blind, l m p u l s e ! /Probe, 1 970 • P h a r a o h S a n d e r s , Black Uni ty, I m p u l s e ! , 1 9 7 1 · P h a r a o h S a n d e r s , Hum A llah - H u m A llah, Hum A llah, I m p u l se ! , 1 972 · P h a r o a h S a n d e r s : Sun in A q uarius {Part 1 6 Part 2} from je wels of Thought, I m p u l s e ! 1 973 • Sun R a , As tra Black, I m p u l s e ! , 1 97 2 · B r i d g e t R i l ey, Phase, p a i n t i n g , 1 9 62 • Basquia t, j u l i a n S c h n a b e l , 1 9 97. Pathe D i s t r i b u t i o n

C[ 2 1 5 ] D ATA M I N I N G TH E I N F OV E R S E j e r o m e A g e l (ed), The Making of Kubrick 's 2 0 0 1, S i gn e t , 1 970 U m b r i o A p p o l l o n i o , (ed), Futurist Manifestos, Thames a n d H u d s o n , 1 9 7 3 A r c h i g r a m , A Guide t o Archigram 1 9 6 1 - 1 9 74, A c a d e m y E d i t i o n s j . G . B a l l a r d . The A trocity Exh ibition. P a n , 1 970 j. G. B a l l a r d , Myths of th e Near Future, V i n ta g e , 1 9 9 4 j . G . B a l l a rd , A User's Guide t o t h e Millennium, H a rperCo l l i ns , 1 9 9 6 R o l a n d B a r t h e s , Sade, Fourier, L o yola, j o n a t h a n C a p e , 1 977 j e a n B a u d r i l l a r d , The Gulf War Did Not Take Pla ce, Power P u b l i ca t i o n s , 1 9 9 5 Pa u l Beatty, The White Boy Shuffle, M i n e r v a , 1 9 9 6 M i c h a e l Bened i k t ( e d ) , Cyberspace: First Steps, M I T Press. 1 9 9 1 Wa l t e r Benj a m i n , Illumina tions, F o n t a n a Press, 1 9 9 2 A d r i a n B o o t 6 C h r i s S a l ew i c z , jimi Hendrix: The Ultima te Experience, Boxtree, 1 9 9 5 j o h n B r o c k m a n 6 E d R o s e n fe l d ( e d s ) , R e a l Time, P i c a d o r , 1 973 S c o t t B u k a t m a n , Terminal Iden tity, D u k e U n i v e r s i t y Press, 1 9 9 3 W i l l i a m B u r r o u g h s . The Ticket tha t Exploded, Pa l a d i n , 1 987 Pasca l B u ssy, Kraftwerk, S A F P u b l i s h i ng , 1 9 9 3 S a m u e l B u t l er, Ere whon, H e r o n Books, 1 9 6 9 Pat C a d i g a n , Synners, H a rperCo l l i ns , 1 9 9 1 K a r e l Capek, R UR, Rossum 's Uni versa l Robots, V y d a l o Aven t i n i u m . 1 9 23 Ian Ca rr, Miles Da vis, Q u a r t e t Books, 1 9 9 2 H e n r y C ha l fo n t 6 M a r t h a Pa l mer, Sub way Art, T h a m e s 6 H u d s o n , 1 9 8 4 H e n r y C h a l fo n t 6 j a m e s P r i goH, Spray Can Art, T h a m e s 6 H u d s o n , 1 987 M i c h e l C h i o n , A u dio Vision, C o l u m b i a U n i v e r s i t y Press, 1 9 94

C[ 2 1 6 ] A r t h u r C . C l a r ke, How the World was One, V i ctor G o l l a n cz, 1 9 9 2 P e t e r C o o k ( e d ) , A rchigram, S t u d i o V i s t a , 1 972 john Corbett, Extended Play, Duke U n i ve r s i t y Press, 1 9 9 4 j o n a t h a n C o t t , S tockha usen, Con versa tions with the Composer, Robson Books, 1 9 7 4 j on a t h a n C r a r y lJ S a n fo r d K w i n z e r (eds), Zone 6 : Incorpora tions, Z o n e B o o k s , 1 99 2 D e n n i s C r o m p t o n ( e d ) , Concerning A rchigram, A r c h i gr a m A r c h i v e s , 1 9 9 8 C r i t i c a l A r t E n s e m b l e , The Electronic Disturbance, A u to n o m e d i a , 1 9 9 4 S a l va d o r D a l i , The Secret Life of Salvador Da /i, V i s i o n Press, 1 9 6 8 S a l va d o r D a l i , Diary of a Genius, C r e a t i o n Books, 1 9 9 4 L e s D a n i e l s , Marvel: Five Fabulous Decades o f the World's Grea test Comics, V i rg i n Books, 1 9 9 1 L e s D a n i e l s , DC Comics: Sixty Years o f th e Worlds Fa vorite Comic Book Heroes, V i rg i n Books, 1 9 9 5 M a n u e l D e L a n d a , War i n t h e A g e of In telligen t Machin es, Z o n e Books, 1 9 9 1 S a m u e l R . D e l a n y , Dhalgren, B a n t a m , 1 976 G i l l es D e l euze lJ Fe l i x G u a t t a r i , A n ti Oedipus, A t h l o n e Press, 1 9 8 4 G i l l e s D e l euze lJ Fel i x G u a t t a r i , A Thousa n d Pla teaux, U n i ve r s i t y o f M i n nesota Press, 1 9 87 G i l les D e l e uze, Nego tia tions, C o l u m b i a U n i ve r s i t y Press, 1 9 9 0 M a r k D e r y (ed), Flame Wars, D u ke U n i ve r s i t y Press, 1 9 9 3 M a r k D ery, Escape Veloci ty, H o d d e r lJ S t o u g h t o n , 1 9 9 6 P h i l i p K . D i ck, Valis, G ra ft o n , 1 9 9 2 W. E . B . D u Bo i s , The Souls of Black Folk, S i g n e t C l a ss i c, 1 9 6 9 R a l p h E l l i s o n , The I n visible Man, Peng u i n Books, 1 9 8 4 B r i a n E n o , A Year with S wollen Appendices, Fa ber lJ Fa ber, 1 9 9 6 M . C . Escher, Exploring t h e Infinite: Escher on Escher ( t r a n s K a r i n F o r d ) , H a rry N . A b r a m s Inc, 1989 F r a n t z Fa n o n , The Wre tch ed o f t h e Earth, Pengu i n , 1 96 7 G e n e Fe l d m a n lJ M a x G a rtenberg (eds), Pro test: The Beat Gen era tion and t h e A ngry Young Men, Panther, 1 9 6 0 M i c h e l Fouca u l t , La nguage, Coun ter-Memory, Pra ctice, Corn e l l U n i v e r s i ty, 1 977 S u z y G a b l i k, Bra n d New York, I C A E d i t i on s , 1 9 8 2 H a r t m u t G e e r k e n lJ B e r n h a r d H e fe l e , Omni verse Sun Ra, Wa i t a w h i l e , 1 9 9 4 N e l son George, The Dea th of Rhythm a n d Blues, Pa n t h e o n Books, 1 9 8 8 N e l so n G e o rge, Buppies, B-Boys, Baps li Bohos, H a rp e r C o l l i n s , 1 99 2 W i l l i a m G i bs o n , Neuroman cer, V i c tor G o l l a ncz, 1 9 8 4 W i l l i a m G i bs o n , Virtual Ligh t, V i k i ng, 1 9 9 3 Pa u l G i l roy, The Black A tlan tic, Verso, 1 9 9 3 j ea n - L u c G o d a r d , Pierrot l e Fou, L o r i m e r P u b l i s h i ng, 1 9 6 9 Fe l i x G u a t t a r i , Cha osmosis, Power P u b l i c a t i o n s , 1 99 5 j oe H a l d e m a n , The Fore ver War, F u t u r a , 1 977 j oe H a l d e m a n , Star Trek: World Wi th o u t End, B a n t a m , 1 9 79 Donna H a r a w a y , Simians, Cyborgs and Women, R o u t l edge, 1 9 9 1 D a v i d H e n d e r s o n , 'Scuse M e While I Kiss the Sky, B a n t a m , 1 9 8 1 A r t h u r j a fa , 6 9 i n M i c h e l e Wa l l a ce (ed), Bla ck Popular Culture, B a y Press, 1 9 9 2 D a r i u s j a mes, Th a t 's Blaxploita tion, S t M a r t i n s Press, 1 9 9 5 George M . j a m e s , Stolen L egacy, A f r i c a W o r l d Press, 1 9 9 2 A l l a n j o nes (ed), First A mong Sequels, B P C Pa perbacks, 1 9 9 6 L e r o i j o nes, Blues People, M o r r o w Q u i l l , 1 9 6 3

C[ 2 1 7 ] Leroi j o n e s , Black Music, Q u i l l , 1 9 67 C h a r l e s K e i l 6 S t e v e n Fe l d , Music Groo ves, U n i v e r s i t y of C h i cago Press, 1 99 4 K e v i n Kel ly, Out of Con trol, F o u r t h E s t a t e , 1 9 9 4 C h r i s K e m p s t e r (ed), History of House, C a s t l e C o m m u n i c a t i o n s , 1 9 9 6 R i c h a r d K o s t e l a n e t z (ed), john Cage, A l l e n L a n e . 1 970 R i c h a rd K o s t e l a n e t z , Dictionary of the A va n t Garde, a c c a p e l l a books, 1 9 9 3 D o n n a K u rtz, Kooks, Feral H o u s e , 1 99 5 M i c h a e l K u rtz, Stockhausen ( t r a n s . R i c h a rd Too p ) , F a b e r 6 Fa ber, 1 9 9 2 M i c h e l Le i r i s , Bris es: Broken Branch es, N o r t h P o i n t P r e s s , 1 9 8 9 j o h n C . L i l y, Programming a n d Metaprogramming i n the Human Biocompu ter, B a n t a m B o o k s , 1 974 G ra h a m Lock, Forces in Motion, Q u a r t e t Books, 1 9 8 8 G ra h a m Lock, Chasing the Vibra tion, S t r i d e P u b l i c a t i o n s , 1 9 9 4 R o b i n M a c o n i e , Stockhausen, O U P, 1 976 Larry M cCa ffe r y (ed), A cross the Wounded Ga laxies, U n i v e r s i t y o f I l l i n o i s Press, 1 9 9 0 M a r s h a l l M c L u h a n , The G u tenberg Galaxy, S i gn e t , 1 9 6 2 / t 9 6 9 M a r s h a l l M c l u h a n , The Mechanical Bride, B e a c o n P r e s s , 1 9 67a M a r s h a l l M c l u h a n , Un derstanding Media, S p here Books, 1 967b M a rs h a l l M c L u h a n 6 Q u e n t i n Fiore, The Medium is the Massage, P e n g u i n Books, 1 9 6 7 M a r s h a l l M c l u h a n 6 Q u e n t i n Fi ore, War a n d Peace i n the Global Village, B a n t a m B o o k s , 1 9 6 8 N o r m a n M a i l er, A Fire on t h e Moon, W e i d e n fe l d 6 N i c h o l s o n , 1 970 P h i l i p M a r c h a n d , Marshall McLuhan, T i c k n o r 6 F i e l d s , 1 9 8 9 R i c h a rd M a r s h a l l , jea n - Michel Basq uia t, W h i tney M u s e u m o f A m e r i c a n A r t , 1 9 9 4 Stephen Metca l f (trans and ed), Friedrich N ietzsche. Hammer o f the Gods, Creation Books, 1 9 9 5 W a l t e r M i l l e r, A Canticle for L eibowi tz, L i p p i n c o t t , 1 9 60 M a t i e M o l i n a r o , C o r i n n e M c l u h a n 6 W i l l i a m Toy e (selec a n d e d ) , L e t ters of Marshall McLuhan, O U P, 1 9 8 7 T i m N e v i l l ( e d ) , Karlh einz Stockhausen, Towards a Cosm ic Music, E l e m e n t B o o k s , 1 9 8 9 F r i e d r i c h N i e tzsche, Untimely Medita tions, C a m b r i d ge U n i ve r s i t y P r e s s , 1 9 8 3 o ( r p h a n ) d ( r i ft · l . o{rphan/ d{rift • l. C a b i n e t E d i t i o n s , 1 9 9 5 Fern a n d O u e l l e t t e , Edgard Varese, C a l d er 6 B o y a r s , 1 97 3 Ya m b o O u o l o g u e m , B o u n d to Violen ce, H e i n e m a n n , 1 9 8 6 R o b e r t Peppera l l , The Post Human Condi tion, I n t e l l ec t Books, 1 9 9 6 S a d i e P l a n t , The Virtual Complexity o f Culture i n Future Na tural, R o b e r t s o n , M a s h , T i c k n e r , B i r d , C u r t i s 6 P u t n a m , (eds), R o u t l edge, 1 9 9 6 I s h m a e l Reed, Flight to Canada, A t h e n e u m , 1 976 I s h m a e l Reed, Mumbo jumbo, A l i s o n 6 Busby, 1 97 8 I s h ma e l R e e d , N e o Hoodoo Manifesto i n j e r o m e 6 D i a n e R o t h e n berg (eds), Symp osium of the Wh ole, U n i v e r s i t y o f C h i ca g o Press, 1 9 8 3 I sh m a e l R e e d , Shro vetide i n O l d N e w Orleans, A t h e n e u m , 1 9 8 9 W i l h e l m R e i c h , The Fun c tion of the Orgasm, B a n t a m B o o k s , 1 9 67 S i m o n Rey n o l d s , Blissed Out, Serpents Ta i l , 1 9 9 0 S i m o n R e y n o l d s 6 j o y P r e s s . The Sex Revolts, S e r p e n t s Ta i l , 1 9 9 5 M i chael Richardson 6 Kryzystof F i s a l kowski ( e d s a n d trans), Refusal o f the Shadow, Verso, 1 9 9 6 R o b e r t s o n , M a s h . T i c k n e r, B i r d , C u r t i s 6 P u t n a m , ( e d s ) , Future Na tural, R o u t l edge, 1 9 9 6 C y n t h i a Rose, L i ving in A m erica, S e r p e n t s Ta i l , 1 99 0 T r i c i a R o s e , Black Noise. Wes l e y a n U n i v e r s i t y P r e s s , 1 9 9 4

C( 2 1 8 ) A n d r e w Ross 6 T r i c i a Rose, (eds), Microphone Fiends, R o u t l edge, 1 9 9 4 j erome 6 D i a n e Rothenberg (eds), Symposium of the Whole, U n i versity o f Ca l i fornia, Press, 1 9 8 3 R o s s R u s se l l , Bird, Q u a rtet B o o k s , 1 9 9 4 D o r i o n S a g a n , Biospheres, A r k a n a , 1 9 90 j e a n Pa u l S a rt r e , Wha t Is Li tera ture ? and O th er Essays, Harvard U n i v e r s i t y P r e s s , 1 9 8 8 S u s a n S o n t a g , Aga inst In terpre ta tion, V i n tage, 1 9 9 4 R . M u r r a y S c h a fer, The Tuning of th e World, A l fred A . K n o pf, 1 9 77 R . M u r r a y S c h a fer, The Music of the En vironment in Cultures Volume 1 No 1, U N E S C O , 1 973 Ben S i d ra n , Bla ck Talk, Pa y b a c k Press, 1 9 9 5 G e r a l d E m a n u e l S t e a r n ( e d ) , McL uhan: Hot and Cool, Pengu i n B o o k s , 1 9 6 8 B r u c e S t e r l i n g , Spook i n Crystal Express, Legend, 1 9 9 0 B r u c e S t e r l i n g, Schizma trix, Pengu i n , 1 9 95 B r u c e S t e r l i n g, Schizma trix Plus, Ace Books, 1 99 6 j a y S t e v e n s , S torming Hea ven, H e i n e m a n n , 1 9 87 j u l i a n S ta l l a b r a s s , Gargan tua, Verso, 1 9 9 6 N e i l S t r a u s s ( e d ) , Radio text(e), S e m i o te x t (e ) , 1 9 9 3 Roger S u t h e r l a n d , Ne w Perspecti ves i n Music, S u n Ta vern F i e l d s , 1 9 9 4 G reg Ta t e , Flyb oy i n the Buttermilk, S i m o n 6 S h u s ter, 1 9 9 2 G reg Ta te, A l tered Spa de: Rea dings in Race Mu ta tion Theory i n A n d rew R o s s 6 Tri c i a Rose, ( e d s ) , Microph one Fiends, R o u t l edge, 1 9 94 E r i c Ta m m , Brian En o, his Music a n d t h e Vertical Colour of Sound, Faber 6 Faber, 1 9 8 9 . j . C . T h o m a s , Chasin ' the Trane, D a C a p o , 1 9 9 4 C a r o l i n e T i s d a l l 6 A n ge l o Bozzo l a , Futurism, T h a m e s 6 H u d s o n , 1 977 S t e p h e n Tod d 6 W i l l i a m L a t h a m , Evolu tionary Art and Compu ters, A c a d a m i c P r e s s , 1 9 9 2 A l v i n To f f l e r , The Third Wa ve, Pa n B o o k s , 1 9 8 0 D a v i d Too p , The Rap A ttack, P l u t o P r e s s . 1 98 2 / 1 9 9 4 D a v i d Too p , Rap A t ta ck z , S e r p e n t s Ta i l , 1 9 9 1 D a v i d Toop, Ocean of Sound, S e r p e n t s Ta i l , 1 9 9 5 Roger Tr i l l i n g 6 S t u a r t Swezey (eds), The Wild Palms Rea der, S t M a r t i n s Press, 1 9 93 A m o s Tu o t o l a , My Life in the Bush of Ghosts, Fa ber 6 Faber, 1 9 9 0 V. Va l e 6 A n d rea j u n o ( e d s ) , Re/Search Big: j . G. Ba llard, R e / S e a r c h , 1 9 8 4 V . Va l e 6 Andrea j u no (eds), Re/Search 15: Incredibly Strange Music Volume II, Re/Search, 1 9 9 4 R i ckey V i n c e n t , Funk, S t M a r t i n s G r i ff i n , 1 9 9 6 Pa u l V i r i l i o, Pure War, S e m i o te x t(e), 1 9 8 3 a Pa u l V i r i l i o , Speed and Politics, S e m i o te x t(e), 1 9 8 3 b Pa u l V i r i l i o , War a n d Cinema, V e r s o , 1 9 8 9 Pa u l V i r i l i o , The L o s t Dimension, S e m i otext(e), 1 9 9 1 Pa u l V i r i l i o , The Vision Machine, B F I , 1 9 9 4 Pa u l V i r i l i o , The A r t of the Mo tor, U n i v e r s i t y o f M i n n e s o t a , 1 9 95 Eric Weisbard w i t h Craig M a rks (eds). Spin A l tern a tive Re cord G uide, V i n tage Books, 1 9 9 5 N o r b e r t W i ener, The Human Use of Human Beings, F r e e A s s oc i a t i o n B o o k s , 1 9 8 9 Va l e r i e W i l mer, A s Serious a s Your Life, Q u a r t e t B o o k s , 1 977 j a c k Womack, Terraplane, G r a fton Books, 1 9 9 1 j a c k Womack, Elvissey, H a rperCo l l i n s , 1 9 9 3 j a c k Womack, Random A c ts of Senseless Violence, H a rp e r Co l l i n s , 1 9 9 3 l a n n i s X e n a k i s , Forma lised Music, U n i ve r s i t y o f I n d i a n a Press, 1 974

C[2 1 9 ) C o P i l o t s : S t e v e B e a r d , E d w a r d G eo r g e , M a r k S i n ke r . O p t i m izers: Grandpa, Adelaide Eshun, j oe Eshun, Esi Eshun, Araba Eshun, E k o w E s h u n , H e l e n B o a t e n g , To n y B o a t e n g , A n ge l a A c ku n , S a m M e n s a h , K w e s i E s h u n , T h o m a s E s h u n , j a n e t K a r i k a r i , j os e p h i n e E s h u n . A c c e l e ra t ors : S a d i e P l a n t , j . G . B a l l a r d , M a rs h a l l M c L u h a n , S i m o n R e y n o l d s , G reg Ta t e , Fred V e r m o r e l , Pa u l B e a t t y , A r c h i g r a m ( R o n H e r r o n , W a r r e n C h a l k , D e n n i s C r o m p t o n , D a v i d G re e n e , P e t e r C o o k , M i c h a e l W e b b ) , D a v i d To o p , I a n Pe n m a n , C h r i s M a r k e r , j a c k Wo m a c k , F i l i po M a ri netti, G i a commo Ba l l a , Um berto Bocc i on i , Maya Deren , W i l l i a m G i b s o n , S a m u e l R . D e l a n y , Ya m b o O u o l o g u e m , M a n u e l De L a n d a , P a t C a d i g a n , B e n S i d r a n , M a s u m u n e S h i ro w , L y n n M a rgu l i s , R e n e M e n i l , l l y a P r i gog i n e , A r t h u r j a fa , I s a be l l e S te n g e r s , R o d n e y B r o o k s , O [ r p h a n ] D [ r i ft l . N e i l K u l ka rn i , P e t e r S h a p i r o , D a v e To m p k i n s , S u z a n n e C e s a i r e , S a m u e l B u t l e r , Vera C h y t i l o v a , N i c R o e g , D a n i e l D e n n e t t , I s h m a e l R e e d , j e a n - Lu c G o d a r d , M i c h e l C h i o n , To m W i l s o n , D a v i d H e n d e r s o n , G e e r t Lov i n k , A i m e C es a i re , E r i k D a v i s , B r u c e S te r l i n g , j e a n M i c h e l B a s q u i a t , R o b e r t R a u s c h e n b e r g , G i l l e s D e l e u z e , F r a n t z Fa n o n , Fe l i x G u a t t a r i , W i l l i a m S . B u rr o u g h s , Pa u l D . M i l l e r, Pa u l V i r i l i o , M a t t h e w B a r n e y , C o l s o n W h i te h e a d , B r i d ge t R i l e y , C h r i s t o f S t e i n e g g e r , B r i a n E n o , N i c k La n d , F ra n c i s B a c o n , Wo n g K a r - Wa i , O s w a l d d e A n d r a d e , Le s l i e F i e d l er , T h e W i re , W y n d h a m Lew i s , K a ts u h i ro O t o m o . I n t e n s i fi er s : I a n S e n , D e i r d re Crow l ey, D u ke O d i a ch i , S t e l l a K a n e , j i m M c C l e l l a n , Trav i s , j e n i G l a s gow, To n y M a r c u s , M a t t h e w C o l l i n , B e t h a n C o l e , R u p e r t H o w e , A n n M a r i e Davy, M a t t ffy t c h e , M e l a n i e Beer, P i p p a M o rea u , N a dj a A b d e l k a d e r , Dego M c fa r l a n e , j o h n O ' R e i l ly, S h a ro n B o w e s , B l a c k Audio F i l m C o l l e c t i v e (David Laws o n , j o h n A k o m fra h , Reece A u g u i s te, Avr i l j o h n s o n , L i n a G o p a u l ) , O r l y K l e i n , S i m o n H o p k i n s , R a y m o n d O a k a , S t e p h e n J . M e t ca l fe , j o y P r e s s , H e i ko H o ffm a n n , Tha d d i e H e r m a n n , M i c h a e l C o rn e l i us , Peter K r u d e r , U l f Po s c h a r d t , R o b e r t J e l i n e k , H a n s K u l i sc h , R i c h a r d S e n , L y n n L e a v e r , D y m p n a S h erry, Mark F i s her, Anne G r e e n s p a n , Cyber n e t i c C u l tu re Research U n i t , R i c h a rd T h o m p s o n . V i v Boyd , E l a i n e O ' D o n o g h u e , O l yw n D o r a n , H e l e n Lea ry, H e l e n M i l l s , M a r t i n Ta ka w i r a , G i d e o n H o l l i s , A d e l e Ya r o n , Kev i n M a r t i n , R o b B u l m a n , S e a n ' P - S k i ' P e n n y c o o k , H o w a r d H age m a n , A d r i a n ' B l u n t ' H u gh e s , H e c t o r H e a t h c o t e , M i c k K i r k m a n . I n Memori a m : M i chel l e Stavrino

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