BREAK WITH ME: COLUMN  2022

a feed of the things going on around us, updated regularly. If you would like to submit a piece of writing, send us a message from the contact page or via our Instagram DMs @breakwith.me

Archive [2022]

Don't Sleep On These - Lauren Duffus • DJ West • LOFT

Moving Fwd >> - our (sort of) manifesto

21-4-21 // 22-4-22

Archive [2021]

DON'T SLEEP ON THESE

 

Editor’s Note: It goes without saying that breakwith.me lies at the cutting-edge of hyperniche, hypervibey, world-building and heart-warming electronic music, but even the heads can miss a trick or two from time to time… this post’s all about tunes that we missed in 2021, or that didn’t get nearly as much of our attention as they deserved. Learn from our mistakes, and keep these sounds close in 2022.

    

 

 

Lauren Duffus – SULK EP REVIEW BY @denglord

I was unknowingly introduced to Lauren Duffus the artist at the tail end of 2020, via the mashup of her song ‘Monastery’ and COLD’s (fka Intentionally Cold) ‘Inner City Pressure’ on the HMRC Bandcamp release of the same name. The HMRC collective in itself is a mystery - the music they put out appears, at first glance, either too leftfield to make its way into a ‘grime’ fan’s playlists, or too DIY and fun to make its way into a ‘conceptronica’ fan’s playlists. Still, the crew were making waves, with tracks regularly appearing in big tastemaker radio shows, and even scoring a short film for Gucci. 

 

The influence of the collective coalesced perfectly on the boards behind Jawniño’s It’s Cold Out: an emotional grime anthem that brought this particular microgenre to its micromasses of artsy depressives and post-streetwear nihilists (as well as actual real people from London). That said, it’s kind of unclear how the collective really operates - it seems more like an extended network of Instagram accounts that casualpost their musical progress and their lives with the same degree of urgency, all sharing each other’s work whilst sort of influencing each other, as is standard protocol for musical scenes in the wake of streaming ubiquity and non-existent support structures. 

 

Back to Lauren: that track on the Inner City Pressure release was my favourite, so I checked out her guest mix on Martha’s NTS show from earlier that year. She introduces herself and her mix with a lighthearted vulnerability, ‘I try to arrange it like a parody of a symphony…I hope you like it’, before blowing a kiss into the mic. In the space of five minutes she travels thru transatlantic drill epics into footwork flips via juiced-up-radio-rap, weaving back into her own coldwave dancehall; that track - Stir Fry - made me realise that this symphony concept was not ironic at all, but an earnest way of masking the grand emotional intentions of her own compositions. 

 

In an interview with The Wire’s Below the Radar column about her breakout track, she reveals that the act of composition serves as a therapeutic response to mourning the loss of her Dad; she started making these tunes trialling Logic 3 on a whim. It’s very endearing to read her suggestion that this musical grievance might ‘feel pretentious’, as if it’s anything but hugely impressive that she’d be able to convert that struggle into artwork. Beyond this context, Stir Fry, and the other 2 tracks on the Sulk EP - Braeburn & Soho Road (Crying Song) - are beautiful in their own right. They display the maturity of an artist far further into their career than you’d believe Lauren is. 


Mixing together predominantly Jamaican rhythms, simple elegiac synths, and club-ready bass, these tracks draw you into their foggy world and take you somewhere outside your own head. Lauren’s sobs and cries are brought in percussively at first, clinging to the gaps between midi notes, until they are eventually allowed to burst out - a heartbreaking conclusion to an already emotional triptych. What’s next? Currently she’s part of the NTS Work In Progress programme, and if her recent single Wires is anything like the other new music she’s working on, we have a lot to look forward to from Lauren Duffus.

djwest_edited.jpg

DJ West – EMU WON LE BEAT REVIEW BY @frogmanfilth

When I tuned into Tim and Barry’s NTS show in early November, I confess I did so with less-than-pure motives. Don’t misunderstand, I’m a T&B stan and always have been – their grime/drill/&c. curation is second to none – but my true intention was (shock) a narcissistic one; I had purchased T&B’s new sample pack a week beforehand and was promised an on-air shoutout in return… what’s the use in donating £25-worth of crypto towards a community-building, grassroots arts project unless you get an ego-swelling headpat afterwards, along with a sprinkle of that much-revered  DJ lifeblood – “exposure”? As such, when I tuned in only to discover that the eponymous T and B were absent for November’s show – and had instead organised for their friend and collaborator Ian McQuaid (label head at Moves) to hold things down – I was fuming… but only momentarily. As is so often the way – indeed, so often the beauty of live broadcast in general – you end up encountering sounds and ideas that you never would have chosen “on demand”; within the space of five minutes I had become a full-blown convert to Mr McQuaid’s latest discovery – one that he had coined “freebeat”. 

Freebeat is a nascent sound coming primarily out of Nigeria, with many of the main players based in Lagos – including DJ West, who I use as a talisman for the sound writ large. McQuaid seems to imply that ‘freebeat’ is just a placeholder term; a WIP name for a sound that might one day be furnished with a title that’s a little sexier and more grown-up. However, I think that ‘freebeat’ is a perfect name for these tunes, and my hot-take is two-fold. First, the sound is formally freer than anything else I heard in 2021: ranging from ~125-140bpm, its mostly fourbeat stuff, peppered with handclaps, UK funky rhythms, classic Nigerian melodies – little synthlines and pluck melodies – that are chopped-and-screwed into distilled form, Amapiano hits here and there, and (my personal favourite) overlaid with that NY-ballroom snare smash from The Ha Dance. All of these sounds are thrown into the melting pot, and done so with little regard for traditional dance music “structure”; phases will come and go on the 12th, 16th, 3rd bars, and everything inbetween – the bassbeat begins and ends most of these tracks and acts as the red-thread that holds them together – everything else is total chaos. The cherry on top has to be the overblown vocal samples that come screaming over the top of the track in sporadic bursts, mixed to sound more like a live MC shouting over a track that’s playing out in the club, rather than an intrinsic part of the tune. All of these features speak to the way these tracks are made: this is a DJ-led scene, and the tunes are made by playing the bassbeat out through a controller before using the cue buttons to relentlessly hammer out the samples at will.

Which leads to the second-half of freebeat’s freeness, which is all about the tech. As well as the kind of playful freedom that comes through in the sound – which, as McQuaid points out, almost gives it the same energy as 80s-hip-hop, where sampling-because-you-can defines the vibe – the tunes themselves are always free; distributed at no cost on local scene-building sites that, in their primary-colour-laden designed-for-mobile kitchiness, could not be further from the ever-so-slick feel of Spotify, Apple Music, Tidal &c. But therein lies the genre’s beauty: in Ghosts of My Life, Mark Fisher laments the paradigm shift in the way technology has come to interact with music. In the 1970s, 80s, and 90s, he rightly points out that technological developments changed the ways in which music was produced – the invention of synths, then samplers, and then primitive DAWs, led to an explosion of totally new sounds and helped build tunes that didn’t just encapsulate their present moment but also ventured to describe an imaginable future. Then, in the early-2000s, there was an unmistakable shift to an emphasis on developing the technology of musical distribution, i.e. streaming platforms and alike which – though initially defined by early-internet, limewire optimism – were soon co-opted by the profit-driven giants we know all too well. Freebeat marks a delightfully chaotic two-fingers to this situation; as well as vocal samples of afrobeat legends like Naira Marley, the tracks are also dubbed with the URLs from whence they came – when you’re deep into the groove of these tracks and suddenly hear ‘MusicMobilTV.com’ or ‘TrendyBeatz.com’ screamed over the top, it can feel a little disconcerting, verging on comical at first, but soon you realise that this is freebeat’s greatest trademark. Freebeat resists the smooth, sleek, sterilised exterior of Spotify-ready industry tunes; it revels in its structureless mayhem, and using gear that costs a fraction of the so-called pro-producer set-up you’re so used to seeing in Logic tutorial videos, creates something so much more exciting that literally points you back to the people, places, and (cyber)spaces through which it circulates. Do yourself a favour and cop some freebeat in 2022. 
 

LOFT – Wish It Would Rain REVIEW BY @hcurtoys

Under her LOFT pseudonym, aya has been releasing cutting edge variations of club music, challenging all tendencies of gun-fingered bass culture and dEcOnStUcTeD club. In June 2021, despite retiring the LOFT alter ego in Jan 2020, we were gifted with a dive into the archives on Finn’s 2 B REAL label (sporting other releases by Anz n Martyn Bootyspoon), and Wish It Would Rain was dropped into our laps just as the sunshine broke through the clouds. There’s a strange haze over that period of last year in my mind: the end of university, having to isolate with the squad, the pandemic necessitating a tiny level of interdependence between students so that we could make a mutually successful end to our degree, and the potential for a third summer of love. Wish It Would

Rain holds a bit of that sunny optimism. Before even listening, the cover of Wish It Would Rain seems to project this sun-soaked desire for something better, a blushing cloudy sky over what I think might be the Firth Street Mill in Huddersfield (@ me Aya I wanna kno) and the title, a poetic cry for something, even the weather, to change.

 

Wish It Would Rain side A is a speeding Baltimore-inflected stomper. The vocal samples

harmonise over thumping kicks which culminate into a horns-blaring crescendo as the track falls into breakbeat oblivion. It’s ultra-soulful and radiates an earnest positivity. Aya usually runs off with the boundaries of what we know as conventional dance music, searching instead for what will actually make us move. However, there’s a familiarity to Wish It Would Rain that somewhat puts you at ease; it couldn’t be called conventional, but it’s not pushing the boat too far out… It’s the gateway towards better rhythm, humbly bouncy, and aimed at gathering people on the same pulsation. Aya’s recent Hyperdub release im hole sees a journey into the northern sprawl of Aya’s mind; a deeply personal and vocal scrapbook. Wish It Would Rain is therefore the gleaming outer shell to the gritty inner world of im hole; two sides of the same coin. The B side’s Massive Vibe

Moment remix is even more wholehearted. Aya – a part of the vibe-sensitive generation – is clearly aware of the power tracks like this hold over us; its blurry eyed and bushy tailed, full of energy despite the clouds and fog, its shrill melody cutting through. A sampledelic nod to old 90s house - words like euphoria and nostalgia &c. - but nothing gross and retro. It’s a track to get people on the same pulse, same page, or same pipeline. 

 

The title of the track comes from a Temptations song of the same name, which tells the tale of a bloke who wants it to rain so he can cry in public without feeling embarrassed about his sentimentality. In the original track, the band use samples of thunder and seagulls as well as sound effects suggesting “sunshine and blue skies”, and these sonic attempts to push their listeners from emotion to emotion, through the clouds into the sun beyond, is something aya retains. By the end of the Massive Vibe Moment all that remains is the pulsation with a squirming melody writhing over the top; its the sunset, the staring over-yonder, squinting at the sky.

 

MOVING FWD>>

 

‘The city seethed with the energy and confidence that erupts when new ideas comingle with new aesthetic forms’ 

    MARK FISHER, Unfinished Introduction to Acid Communism

 

In the halcyon days of 2019, during our first year of university, Break With Me started as a club night. Before the pandemic, we hosted three events in which the squad would badly DJ jungle YouTube rips and questionable Soulseek bootlegs to no more than fifty people. At that point in time, our aspirations for the project went no further than wanting to share the music we were listening to with our peers in a flimsy, magnanimous pursuit of autonomy or collectivity or something

No doubt, the circumstances that have engulfed the years since have precipitated a necessary shift in the nature of our still inchoate project. We have learnt from the outside how flimsy the ecosystem that binds together each strand of the dance music ‘industry’ can be. With government protection going exclusively to the parasitic platforms that mine the underground for new talent - as well as cash injections to mid-size venues designed to protect the corporate landlords that own them - consumer-first hype projects like Bandcamp Friday could never be enough to conserve and expand the vast network of invaluable artists, engineers, and communities on the most precarious side of existence. With this in mind, it’s vital to present the next generation with a life in the creative arts beyond the money-grubbing world of ‘content’. More than anything else, whatever form our projects will take, the goal is to revive and enshrine the idea that working at the behest of elite interests causes the fatal belief that nothing in our lives or our world could be better. For the first time in cultural memory, we are at a junction where young creators are producing ideas infinitely more novel and meaningful than anything curated by legacy institutions.

 

It feels instinctive, then, to root ourselves in the question ‘how can we platform these new and important ideas?’ From there, we must route ourselves towards a position where we have the material capacity to make this happen. A lot of exciting things are happening beyond the scope of our squad’s remit within the realm of peer-produced, decentralised, digital infrastructures for art, culture, and society. So much so, that it’s hard for young people who want to get involved in this evolving new world to navigate it, or even find a point of entry. Without either the starting capital (vomit emoji) to establish a group presence within these new zones, or the free time to hack our way through the required reading, soon enough the post-covid utopian spaces promised by robust veterans of underground scenes and new messiahs of web-3 alike can only be occupied by those who got there at the right time and place. With this in mind, our goal is to mobilise our immediate community through discord channels, reading groups, and other community projects to better navigate what is going to happen next in that most fabled nexus at the intersection of art and technology. 

 

Break With Me is not an events promoter, a music magazine, or a video production company. Digital-first platforms at the mercy of behemoth digital-first platforms must always shapeshift to match the needs of their community if they are to survive. Nonetheless, an important part of this is ‘gatekeeping’ what is published and promoted in order to maintain a vibe that’s worked around, and a shared vision that’s worked towards. At this early stage, that shared vision is extremely hazy, but that’s ok: by committing to sharing resources and ideas in service of raising the squad wealth, things can only get better. In this way, we will soon be launching various schemes to grow our community. As established, we are not yet ready to outline an appropriate group structure based around community tokens or a DAO approach. Instead, we will be following a more classic path: by selling poster prints, advance event tickets, and the like, those interested can gain access to our Discord community and reading group, as well as influence the shape of BWM to come. It’s our blind faith belief that nobody close enough to the current community could possibly buy out the organisation to such an extent that this strategy becomes unfair to anyone wanting to get involved. Alongside this, the founding team will be applying for separate grants from arts charities and local institutions.

 

Ideally, by the end of this year the Break With Community will have grown to such an extent that we can pay our contributors their fair share (everyone involved so far ((beyond most of the artists performing at our Space 289 show (((extra shoutout to those that performed for free))) )) has voluntarily committed themselves, and in some cases given their money, to our community). We’re well aware that it’s hard for anybody outside the immediate bubble of contributors to care about the state of this project since it is unclear yet exactly how it’s benefiting anyone. Our answer is this: building an institution is not a simple task. If we had faith in the structures currently in place for people working across this creative spectrum, we would simply go and lick their boots. When trying to put our event on DICE, we received an email saying that the lineup was not big enough to sell the amount of tickets required to appear on their platform. We filled the venue to 90% capacity with our not-big-enough lineup and ran at a loss; Resident Advisor took a large cut for our work. Sure, we gave a few free tickets away, but consider this: if you total the money from tickets that we did sell, it would be enough to pay all the artists, bar staff,  and sound engineer individually - whoever owns the space currently rented by the team behind the fantastic venue saw the bulk of the money from our night. 

 

Boiler Room - a company which received £1million in government grants (as did RA) to survive the pandemic - despite building itself by making money off of other people’s work - was recently acquired by DICE. Spotify CEO Daniel Ek invested $100million into AI warfare company Helsing. Are these the cultural cartographers we want? Meanwhile, you’re doing five free radio shows a month to get the exposure required to DJ an unpaid group art show that’s sponsored by a deep-state affiliated energy drink company whilst maintaining a day job you don’t care about. Where is the time for anything good to happen?

21-4-21recommendations 

21-4-21 // 22-4-22

 

Editor’s note: To round off another wonderful year of non-fungible good vibes, we asked our contributors, our favourite artists, and the breakwith.me squad to offer up their reflections for your dissection. First up are our “twenty-one for ’21” – our highlights from the year gone by, covering music, movies, monkeys, and so much more. Then, we move on to the “twenty-two for ’22” – our wildest, weirdest, premonitions for the twelve months ahead; equal parts poetic, prosaic, and psychedelic, it's shaping up to be a wavy one… If you think we’ve missed anything, drop us a DM, and have a joyful New Year <3

Holly Herndon - Crossing the Interface (DAO)

"You'll notice throughout this upcoming list that there are gonna be a lot of right-click-monkey-funny-crypto-bad jokes. Luckily I'm the squad member uploading these posts so I get to inb4 the web3phobia with what I think is an extremely beautiful and important work of art. This collection of NFTs from Holly & Mat (aka breakwith.me royalty) is a generative animation spawned from a text written by Reza Negarestani (aka breakwith.me royalty and @gourmcell's ghormeh sabzi correspondent). In my eyes, these vignettes perfectly encapsulate how a cautious optimism towards working with such controversial technologies can produce a kind of sensorial art-making that has escaped our contemporary art world - a world which is so obsessed with venerating discursive 'works' of objects and pre-texts that it fails to produce anything beyond a banal mirroring of Real life. In our upside-down world - sure - ugly tech bros with their ugly money ruin everything, but as Reza says in his Intelligence & Spirit, 'we've crossed the cognitive rubicon', and ignoring how these new forms and protocols might recover FEELING in our cultural landscape would surely be a mistake." - @denglord

Kathy - Turn Me Out (John Buccieri Remix)

Screenshot 2022-01-03 at 18.44_edited.pn

“Jimmy Kimmel describing the Jan. 6th Capitol riots as: ‘Voldemort’s army storming the gates of Hogwarts, while Harry Potter stood by and watched…’”

And now, a typically timeless take from @tmwilsn…

 

“In recounting events at the end of the year, I tend to struggle in places dates and locating times etc., so my hand is slightly forced here, but I do remember my last live music experience of the year (I think) being unsolicited, unserious fun - the night in question being 404 Guild at Venue MOT…big anthems in shades of darkness…praise be.”

And an indisputable highpoint from @video1nasty…
 

“The announcement of Prince Philip’s death on BBC radio dance…” 

And an indisputable highpoint from @video1nasty…
 

“The announcement of Prince Philip’s death on BBC radio dance…” 

Proc Fiskal - Siren Spine Sysex

recommended by @hcurtoys

“It's obviously Proc’s Siren Spine Sysex released in September. As reviewed by my esteemed colleague Dominic ont’ column (https://www.breakwith.me/column) Siren Spine Sysex allows a glimpse ‘of a world so new and unintelligible to us rn that caring about things will always be worth it’ (@denglord), and has struck me as the way forward; if we care at all about starting as we mean to go on, this is the sound, style, and rhetoric I am behind. It does so well what I am constantly trying to achieve in my sonic explorations, the pairing of the rural and organic, with the rhythmic, contemporary, and futuristic. As someone at Loud n Quiet put it, an ‘urban folklore phantasm’”

unnamed (1).jpeg

“This brave soldier: thank you for your service.’”

“A particularly joyful experience was hearing Kode9 play Chimpo’s ‘send 4 me’. It wasn’t until Scratcha revealed the track’s name on NTS pre-xmas that any of us knew what it was, but after being wiped out by it at Fabric it was stuck in our headz indefinitely. I remember deng turning to me as the intro played with a fish-eating grin... ‘my days n nights will be a living helll......send for me’”

A Rogue but welcome sporty take from valued friend and contributor @brandon_kzny…

“Roy Keane gets Instagram: On 12th February 2021, Roy Keane introduced himself to Instagram, and it’s fair to say it boosted the moral of an entire nation. As one of his captions goes: ‘My Granddaughter idolises me. I told her to join the queue.’”

“Reading Leave Society by Tao Lin on my birthday”

1541C476-A192-43CD-83FA-30561F205163.jpg
frog pride rc.jpeg

“Seeing ‘Summer of Soul’, dir. Ahmir-Khalib Thompson: Footage of the Harlem Cultural Festival in 1969. An all-killer-no-filler line-up across 6 weekends, free entry and revolutionary sounds and performances therein. Glad this event has found its way outta the archive at long last.”

“Seeing ‘Summer of Soul’, dir. Ahmir-Khalib Thompson: Footage of the Harlem Cultural Festival in 1969. An all-killer-no-filler line-up across 6 weekends, free entry and revolutionary sounds and performances therein. Glad this event has found its way outta the archive at long last.”

e97.jpg

"'-maxxing' as a suffix"

"'this tiktok"

 

"also this tik tok"

Hot, sweaty, cyberpunk-anime from the cyberdance champion @10vice7… 

“I recommend everyone watches the 1998 anime Serial Experiments Lain. I don’t think there’s a better metaphor for the ever-increasing presence of technology and the internet in peoples lives, Cyberpunk masterpiece. It’s kinda ridiculous to think that it came out only a few months after I was born” 
 

“When Michael Gove outed himself as a junglist, obviously” 

“Scratcha DVA singlehandedly revolutionising lunchtime radio with the introduction of the 5ManJam”

"Aaron Bastani's wedding photos"

and, finally...

marzipan.png

22-4-22predictions for the new year

The next three are weird ones

from @hcurtoys tbh… 

 

 

“donning my new wireless earbuds n listening in a headlong abandon to as many as possible… and bringing back notebooks and scribbling shite in them” 

Can’t wait to read the full article on this one… 

“Land tax”

But to be fair, this one’s based…

“Saying selectors are unskilled DJs gets u shadowbanned”
 

Screenshot 2022-01-03 at 14.21.41.png

“PinkPantheress’ meteoric rise continues, and she is cemented as the UK’s foremost pioneering pop princess.” 

“The virtual workplace, brought to you by meta.”

“Aaron Bastani’s first child is born – a Gemini called Jacques.” 

“Breakwith.me hosts the inaugural #FreeAlanPidgley concert” 

@video1nasty outs themself as DRadcliffe simp… who knew?

 

“A British, psychedelic, psychosexual Saw franchise reboot starring Daniel Radcliffe” 

 

"I continue to hit PBs on bench while listening to ‘bladee - hotel breakfast’, deadlifts to ‘bladee & mechatok - sun’, overhead press to ‘bladee - reality surf’ and hopefully my squats will improve when he releases new music"

 

Really exciting news from @gourmcell…

“if the covid not over by 2022…imma make braun”

[braun is a head cheese / cold cut meat jelly made from the flesh of the calf or pig]

“Jeff Bezos embarks on a Kendall Roy-style breakdown after the breakwith.me finance kru successfully short Amazon stocks, causing an epic line-go-down moment.”

kendall.jpeg

Then there’s this one from @brandon_kzny… stick to the footy buddy 

 

“Kendrick Lamar saves hip hop:  After a 4 year hiatus and breakaway from hometown label Top Dawg Entertainment, the stage is set for Kendrick Lamar to release a project that could rival TPAB & GKMC. Hip Hop may yet be saved.” 

 

@10vice7 threatens manic retromania… 

 

“I think that there’s going to be more tech from the early 2000s coming back into popular fashion same way clothes have like Walkmans, Tamagotchis, IPod Shuffles etc… & I think dat will be cool 🙂”

 

“In dipping my toes into hapless futurology however, there is no limit to what can be speculated, and yet my prediction is rather safe (much safer after doing an ounce of research), but I reckon that in 2022 we will see the highways change once more - following Uber’s demise some sort of private firm will push a new people carrying device into the mainstream, funnelling it into big city transportation. Sparked by a now befuddled trend of domes, these autonomous vehicles will draw pod culture onto the pavements; Truman Show’s Seahaven Islands but thousands of them with the capacity of you, a yassification of Blade Runner’s Spinners, Canary Wharf’s newest gimmick…or maybe they’ll just dig up Bexley and build a giant Amazon Fresh.” 

 

The sexiest voice on CroydonFM - @nammywams – has his eye on the algorithms… 

 

“IG explore page becomes more popular than the actual feed” 

 

This next one’s from him too; goes without saying really… 

 

“You’ll listen to everything M.I.C. and vice?! puts out”

 

“Billie Eilish fails to appear for the 6th instalment of her annual interview with Vanity Fair after admitting to purchasing an Epstein-inspired Bored Ape. Meanwhile, the sales from Finneas' stem NFTs are quietly donated to Helsing AI, who are producing real-time solutions in the Thiel-backed [redacted] coup”

billie eilish lizard copy.png
Kendrick Soy.png

Molly – friend, contributor, and co-host of @mumzzztheword – predicts more tears in the club… 

 

“The FKA Twigs’ Mixtape (dropping on Jan 14th); I have no doubt Twigs music, choreography and direction will continue to fuck me up.” 

 

“(At least) One Joseph Robinette Biden assassination attempt.”

 

“After based CapReal fan Gabriel Boric takes power in Chile, acid communism sweeps South America, and delicious cheesy Quesadillas are finally reclaimed from the Dalston media-types who will, no doubt, become repulsed at the very sight of them…bloody media-types”  

 

"ACLU represent the victims of Astroworld with legal fees paid for by DAOs flipping Apes to put Travis Scott behind bars for manslaughter. Meanwhile, Jam City takes full control of Olivia Rodrigo’s protest album against the Helsing AI occupation of [redacted]. Ruth Bader Ginsberg slowed + reverb headlines Coachella."

 

And, to close, a poem from London’s favourite all-rounder, @patchfutures…

 

“Here we go as we sink our teeth in

Biting and ripping off Chunks

Each take a taste and grind it into lumps

These lumps make taste and proliferate thumps

 

Thumping worlds of Sonic Styles

Bumpy things textures and smiles

A world Shaking between all of our hands

Our language respires and the random expands

 

Taking all hands towards deep towards nothing

Sweating with rumbling bass in our skin we know that the word for this is within

Stretch yourself 

Attacked by music

Let

Letting

Clotting

Parsley jotting

Arnold Shopping

Running and Stopping at 800BPM

Stopping Distance is zschocking

 

Next time you thing about 2022

Think about the rule you feel within you

Same rule for last year same rule for next

We all grow things that we never expect”